The latest addition to our Reviews Section is Tim Nassau’s piece on Pierre Siniac’s The Collaborators, which is translated from the French by Jordan Stump and came out earlier this year from Dalkey Archive Press.
This is kicking off a few weeks of Dalkey reviews . . . We already have a piece on Toussaint’s Self-Portrait Abroad ready to post on Tuesday, and a review of Patrik Ourednik’s Case Closed in the works for next week . . .
But anyway. Tim — who you may remember from last summer, when he interned for Open Letter and wrote a few reviews and other pieces — does a great job summing up this complicated book, which, even though his review isn’t 100% positive, sounds pretty fun and intriguing. Here’s the opening of Tim’s piece:
The Collaborators is a novel about a novel. The book in question is called Dancing the Brown Java, volume one of a sprawling epic set in Resistance-era France, and perhaps the greatest French work since Louis-Ferdinand Céline’s Voyage to the End of the Night. The reader doesn’t learn too much about the content of this new masterpiece over the course of Pierre Siniac’s book—certain episodes of the plot are sketched out, a sentence or two is read by some character, critics praise the “little music” of its prose—for it is the events that swarm around it, the violent and even absurd machinations Dancing the Brown Java sets in motion, that constitute the almost 500 pages of this work.
It becomes clear early on that Dancing the Brown Java is an atypical book, not in some metaphysical or metafictional sense (like Borges’s “The Book of Sand”), but perhaps more as a MacGuffin, a mysterious force driving the action and leaving dead bodies in its wake. The Collaborators opens with an episode of Book Culture, a TV show dedicated to the literary arts. Jean-Rémi Dochin and Charles Gastinel are the stars of the evening, brought on to discuss Dancing the Brown Java, their critical and commercial hit. The two are an unlikely pair to have spawned a great work of literature: Dochin spent his life as an unemployed drifter, while Gastinel worked as a puppeteer until he became so fat his stage burst one day as he was performing beneath it. And as for being collaborators? They are decades apart in age and hardly seem to like one another . . .
Well they don’t and they aren’t. We learn very early on that Dochin wrote the book alone. Somehow, Gastinel involved Dochin in a murder and is now using this as blackmail so that he may live his dream of being a famous and esteemed author; imagine the Devil so admiring Faust’s intellect that he forced a deal on the poor scholar just to get a byline. And this is not the only time Dancing is tainted with blood. After it is published, any critic that plans on giving it a bad review quickly finds himself permanently incapacitated before a bad word about the novel can appear in print.
Click “here”: for the full review.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .