11 March 11 | Chad W. Post

One of my favorite writers from the past few years has to be Enrique Vila-Matas, whose Bartleby & Co. and Montano’s Malady are absolutely fantastic. Very excited that Vila-Matas wrote an intro for our forthcoming publication of Sergio Chejfec’s My Two Worlds, and also very excited to read his new book, Never Any End to Paris, which is forthcoming from New Directions, and was reviewed by Scott Esposito (today is a day of almost all Esposito post) in The National:

Never Any End to Paris (which takes its name from Hemingway’s famous memoir, A Moveable Feast), is a curious anti-memoir of the time he spent living with Marguerite Duras as a young writer in the French capital. The book, which Vila-Matas pitches with characteristic absurdist aplomb as a three-day lecture, gets off to a proper start with an anecdote about a Hemingway lookalike contest Vila-Matas claims to have entered. (I doubt he ever did.) It quickly turns farcical, as Vila-Matas looks nothing at all like Hemingway: “I should say that I made a ridiculous fool of myself . . . I was disqualified; worst of all, they didn’t throw me out of the competition because they discovered my false beard – which they did not – but because of my ‘absolute lack of physical resemblance to Hemingway’”.

This self-effacing beginning is a spot-on way for Vila-Matas to start his retelling of how his youthful pretensions to become a second Hemingway quickly ran off the rails. Befitting a writer who would stake his name to the quicksands of the derivative, the young man we find in this book is one who is constantly trying to copy others. He attempts to mimic Hemingway’s effortless bohemianism, he adopts the thick glasses and harsh demeanour of the Parisian literati (themselves poseurs), and he tries to fit in with one of the avant-garde movements. From Duras (whose elevated French he never quite understands) he receives a 12-point list of qualities he must work into his writing, which he follows with a naive ardour. He even steals the plot and format of the literary work he creates in Paris from Unamuno and Nabokov. [. . .]

It is true that the actual Vila-Matas did journey to Paris, where he lived with Duras and wrote a literary mystery titled La asesina ilustrada, about a book that could kill its reader. And yet I’m quite sure the author has never given a three-day lecture on his time in Paris, nor grown a beard (to the great chagrin of his wife) in an attempt to look like Hemingway. The heteronym of Vila-Matas in the book even claims that La asesina ilustrada is his first work, but the Vila-Matas whose book I’m reviewing wrote Mujer en el espejo contemplando el paisaje years before La asesina.

It’s not enough to say that what Vila-Matas does is fictional autobiography; it’s more akin to something he attributes to Raymond Roussel, whom he writes told “stories that emerged from the prose itself.” Vila-Matas tells stories that emerge from the past. In this “ironic revision” of the author’s youth, the paradox that holds this book tight as a boa constrictor is that the Vila-Matas in Never Any End to Paris is the real-world Vila-Matas precisely because he isn’t. This works in a way analogous to a story he claims to have heard Borges tell one night in a bookstore in Paris. Relating the words of his father, Borges tells the audience that the past does not exist because all we have of it is a chain of memories: “Each time I remember something, I am not really remembering it, but rather am remembering the last time I remembered it . . . So in reality I have absolutely no memories or images of my childhood, of my youth.”


Comments are disabled for this article.
....
The Subsidiary
The Subsidiary by Matías Celedón
Reviewed by Vincent Francone

The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .

Read More >

Thus Bad Begins
Thus Bad Begins by Javier Marías
Reviewed by Kristel Thornell

Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .

Read More >

Death by Water
Death by Water by Kenzaburo Oe
Reviewed by Will Eells

Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .

Read More >

Twenty-One Cardinals
Twenty-One Cardinals by Jocelyne Saucier
Reviewed by Natalya Tausanovitch

Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .

Read More >

One of Us Is Sleeping
One of Us Is Sleeping by Josefine Klougart
Reviewed by Jeremy Garber

We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .

Read More >

Bye Bye Blondie
Bye Bye Blondie by Virginie Despentes
Reviewed by Emma Ramadan

Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .

Read More >

La Superba
La Superba by Ilja Leonard Pfeijffer
Reviewed by Anna Alden

Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .

Read More >

Intervenir/Intervene
Intervenir/Intervene by Dolores Dorantes; Rodrigo Flores Sánchez
Reviewed by Vincent Francone

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!. . .

Read More >

All Days Are Night
All Days Are Night by Peter Stamm
Reviewed by Lori Feathers

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. . .

Read More >

The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

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. . .

Read More >