Similar to years past, we’re going to be featuring each of the 25 titles on the BTBA Fiction Longlist over the next month plus, but in contrast to previous editions, this year we’re going to try an experiment and frame all write-ups as “why this book should win.” Some of these entries will be absurd, some more serious, some very funny, a lot written by people who normally don’t contribute to Three Percent. Overall, the point is to have some fun and give you a bunch of reasons as to why you should read at least a few of the BTBA titles.
All posts in this series can be found here. And I’ll kick things off with a post I wrote about Javier Marias’s book.
Bad Nature, or With Elvis in Mexico by Javier Marias, translated by Esther Allen
Publisher: New Directions
Why It Should Win: Elvis! and a hysterical description of Fun in Acapulco; stars a translator and the plot hinges on translator’s interpretation; it’s Javier Marias, it’s Esther Allen, it’s New Directions
Although it’s only 57-pages long, this novella is packed with awesomeness. The basic story: some years back, a young Spaniard is hired to go to Mexico with Elvis and help him with his Spanish pronunciation. (Elvis wants to speak his ‘c’s like a true Spaniard—not like a Mexican.) While there, a confrontation takes place with locals in a bar—a confrontation that, by linguistic necessity, puts out narrator in the line of fire (literally and figuratively).
Marias is absolutely one of the best, and this book dazzles from its opening line:
No one knows what it’s like to be hunted down without having lived it, and unless the chase was active and constant, carried out with deliberation, determination, dedication and never a break, with perseverance and fanaticism, as if the pursuers had nothing else to do in life but look for you, keep after you, follow your trail, locate you, catch up with you and then, at best, wait for the moment to settle the score.
It might be due to the brevity of the text, but there’s a way in which every scene, every description, every event seems absolutely locked together, with each paragraph having to follow from the one previous. That’s not usually how I think of Marias, with his long-winding sentences (see above), constant contemplation, and the way his prose mulls. But Bad Nature really is the very definition of tight.
The fact that this book is about a translator—and the process of translation—might give it an edge with the panelists. This isn’t the first time Marias has written about a translator or used an act of translation as a plot point (see A Heart So White). Regardless, the moment in which the translator chooses his words in conveying Elvis’s insult to the ruffians is thick with tension, and such a perfect example of how translation is interpretation . . .
All that’s great, Marias is great, Esther’s translation is great, but the real reason this should win? These two passages. First, a description of the film:
I don’t really know what the plot of the film was supposed to be, and not because it was too complicated; on the contrary, it’s hard to follow a plot when there is no story line and no style to substitute for one or distract you; even later, after seeing the film—before the premiere there was a private screening—I can’t tell you what its excuse for a plot was. All I know is that Elvis Presley, the tortured former trapeze artist, as I said—but he’s only tortured sometimes, he also spends a lot of time going swimming, perfectly at ease, and uninhibitedly romancing women—wanders around Acapulco, I don’t remember why, let’s say he’s trying to shake off his dark past or he’s on the run from the FBI, perhaps some thought the fratricide was deliberate (I’m not at all clear on that and I could be mixing up my movies, thirty-three years have gone by). As is logical and necessary, Elvis sings and dances in various places: a cantina, a hotel, a terrace facing the daunting cliff. From time to time he stares, with envy and some kind of complex, at the swimmers—or rather, divers—who plunge into the pool with tremendous smugness from a diving board of only average height.
And from this description of the ridiculousness of Elvis:
Since he was a hard and serious and even enthusiastic worker, he couldn’t see how his roles looked from the outside or make fun of them. I imagine it was in the same disciplined and pliant frame of mind that he allowed himself to grow drooping sideburns in the seventies and agreed to appear on stage tricked out like a circus side show, wearing suits bedecked with copious sequins and fringes, bell bottoms slit up the side, belts as wide as a novice whore’s, high-heeled goblin boots, and a short cape—a cape—that made him look more like Super Rat than whatever he was probably trying for, Superman, I would imagine.
Super Rat FTW!
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .