The latest addition to our Reviews Section is a piece by Phillip Witte on Jenny Erpenbeck’s Visitation, translated from the German by Susan Bernofsky and published earlier this year by New Directions.
Phillip Witte was an intern for Open Letter way back in the day, and also had a summer internship at New Directions. He’s a great reader, was a fantastic intern, and is one of those young people who gives me hope about the future of literary publishing. (Honestly.) Last I heard he was working at The Strand, although he may be looking for another publishing gig . . .
Anyway, Susan Bernofsky is awesome, and we’ve sang her praises any number of times on this blog. She’s told me repetitively about just how good this particular book is, and I feel like a horrible reader for not having found time to read it yet. (But soon! I can see this making the BTBA longlist, which is the perfect opportunity to set aside a few days to enjoy this.)
This is Jenny Erpenbeck’s third book to be published in translation by New Directions, the others being The Book of Words and The Old Child & Other Stories. I can’t begin to guess how many times I’ve heard great things about her books—in particular Visitation.
Anyway, on to Phil’s review:
Jenny Erpenbeck has already received a great deal of well-deserved critical acclaim in the wake of her third novel, Visitation (New Directions, translated by Susan Bernofsky), which Vogue has called “a remarkable achievement.” Such a response (especially coming from the mainstream, one is tempted to say) is very exciting for the cause of literary translation, and particularly in this case given the book’s unconventional tactics.
The novel eschews convention in many ways, foremost among them being that its central character is a place—on a lakeshore, a collection of adjacent properties, a summer getaway, a garden, a paradise. It is based on an actual place in Brandenburg, Germany, where Erpenbeck’s family had a summer home for the latter part of the 20th century. In her recent interview with Vogue, Erpenbeck explains how she arrived at the present work: It began as an effort to retain something of the lost childhood home (a desire we can all relate to, especially those of us who have only recently fled the nest). As it progressed, however, Erpenbeck widened the novel’s attention from her own relationship with the house to the house itself as a locus of the lives, stories, comings and goings of its many inhabitants over the twentieth century.
Twelve of these inhabitants drift in and out of the book; unnamed for the most part, they are of all ages, and they come from all different sides of Germany’s many different conflicts of the long century. The original Jewish owners of the house emigrate before the Nazi threat in the 30s. A Nazi architect renovates the house, delighting his young wife’s whims with a hidden closet and a metal bird affixed to the balcony railing. During the Russian advance at the end of World War II, a Russian officer takes up brief residence in the architect’s bedroom, unaware of the architect’s wife hidden in the secret closet. After the war, the architect is forced into exile for illegally doing business with the West, and is replaced by a communist writer and her family, returning from their own Siberian exile. In the nineties, a young married couple who enjoy sailing on the lake briefly occupy the toolshed as subtenants.
Click here to read the full piece.
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