Larissa reviews for us on a regular basis, when she’s not learning various languages, writing for L Magazine, or reading Scandinavian lit . . . She’s a smart reviewer, and this look at Cosse’s novel is interesting both in its praise and criticisms. Here’s the opening of her review:
“Who should we see at the police to denounce attacks against literature?” Such is the question that two bookstore owners—one an elegant heiress, the other a self-educated, solitary, bohemian bookseller—solemnly pose at the opening of French author Laurence Cossé’s satirical biblio-thriller, A Novel Bookstore. Both avid and opinionated readers, Francesca Aldo-Valbelli and Ivan (Van) Georg embarked on an entirely idealistic enterprise—to open The Good Novel, “a perfect bookstore, the kind where you’d sell nothing but good novels.” Their inventory selection process was complex and clandestine: a panel of eight unidentified novelists—each with their own code name, such as “Quinoa” and “Strait-laced,” or “The Red” and “Green Pea”—would generate lists of titles to be stocked. Books on hand would be old and new, from countries worldwide. However, The Good Novel would not fall prey to current publishing trends, and would not depend on forthcoming novels or best sellers—“books not worth bothering with”—to make a profit.
The Good Novel had a fabulous debut, but its unfettered success was not to last. Shortly after its opening, the store faced a sudden onslaught of attacks. Vitriolic opinion pieces declaring the store’s mission to sell only good books as “totalitarian” were published in newspapers. Malicious customers arrived in hordes, ordering Danielle Steele books they never planned to pay for. Most shocking, three of the members of the secret selection committee were not only identified, but violently attacked by mysterious strangers who pointedly taunted them: “It’s like being in a bad crime novel, huh. . . . ? With vulgar characters and a stupid plot . . . So this isn’t a good novel, huh?”
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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. . .
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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. . .