The latest addition to our Reviews Section is a piece by Erin O’Rourke on Leïla Marouane’s The Sexual Life of an Islamist in Paris, which was translated from the French by Alison Anderson and published by Europa Editions earlier this year.
Erin O’Rourke has been interning with us all summer, reading a lot of the Italian books that were passed along thanks to our recent visit to the Torino International Book Fair. In her own words, she is an aspiring crazy cat lady, and is currently on a plane to San Francisco. (These two statements are unrelated. Maybe.)
She like the book quite a bit, and it does sound really interesting:
In four novels and a collection of short stories, Leïla Marouane has become a voice for the Algerian women’s rights movement, exploring themes of marriage, sex, and identity in the context of the religious and cultural divide of the Maghreb/Western Europe region. She fearlessly takes on the taboo, as her skill with comedy renders even the most troubling political or religious issues accessible. Born in Algeria in 1960, Marouane escaped persecution towards her writing by moving to Paris in 1990. This is her second novel to be translated into English, following The Abductor, which was published by Quartet Books in the UK almost a decade ago.
With The Sexual Life of an Islamist in Paris—vividly translated by Alison Anderson—Marouane skillfully constructs a light, comedic plot behind which hides a dizzying maze of questions that, like an Escher staircase, form an endless loop. The story starts out as a comedy of errors starring Mohamed Ben Mokhtar, an Algerian immigrant living in a Paris suburb who is also a forty-year-old virgin. Once a devout Muslim, Mohamed has left the faith and decided to free himself from his oppressively devoted mother by moving to Paris and Westernizing himself. He changes his name to Basile Tocquard, lightens his skin and straightens his hair, and sets out to become a famous poet and seduce as many blonde women as he possibly can. The results are hilarious, as in this great passage in which Mohamed naively plans out his new apartment:
For that passage, and the rest of the review, click here.
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .