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.
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Eline Vere by Louis Couperus, translated by Ina Rikle
Why This Book Should Win: Couperus is the Dutch Zola/Flaubert/Tolstoy, but pretty much no one in America reads him; this is a truly classic novel, one that was first published in 1889; probably the only “Novel of the Hague” published last year.
The best introduction you can get to Couperus and Eline Vere is the bit from the Leonard Lopate show attached below and featuring Ina Rilke and Paul Binding:
(Kind of funny that right off the bat, Rilke talks about how Eline Vere isn’t really Couperus’s best work.)
Another great entryway to Couperus—one of the Netherlands great authors—is Paul Binding’s very informative and interesting afterword. Here’s a bit:
Louis Couperus was only twenty-six when Eline Vere came out, and had previously published only unsatisfactory and derivative poems (in 1883 and 1884). Though it is a literary artefact of precocious sophistication and accomplishment, the novel is also palpably the creation of a young man whose years were a great advantage to him in its composition. For Couperus is still very much of the milieu he is re-creating, aware though he is of its limitations and faults, and he clearly was intimately familiar, as a member himself of youthful Hague society, of the very pleasures, expectations and hopes he ascribes to his large cast of characters, almost all of them his contemporaries. Their gossip and banter, their flirtations, their little tiffs and misunderstandings and reconciliations, their plans for and doubts about the nature of their future adult lives convince us (and never more so than in Ina Rilke’s spirited and linguistically sensitive English) because they are done essentially from the inside. A young man like Etienne van Erlevoort, lazy and industrious, facetious and affectionate by turns, springs to life off the pages—on which he performs no absolutely essential dramatic act—as though a relation of the author’s own, slyly observed over many years, were being presented to us. [. . .]
And a bit about the book itself:
Almost halfway through Eline Vere we find its eponymous heroine in a state of conscious happiness. Eline, whose life has hitherto centered round the entertainments of high society in The Hague, is staying at De Horze in Gelderland, the country property of the family into which she has agreed to marry. The more she sees of her betrothed, Otto van Erlevoort, the more she appreciates his kindly, virtuous character. Herself highly strung and only too frequently dissatisfied, she has found deep contentment in surrendering to the slow rhythms of the rural summer. These have enabled her to get on with members of the large Van Erlevoort family so well that they are now obviously fond of her—even Otto’s sister Frederique, who has never much cared for her. Eline is quite aware that she has significantly changed:
“During moments of solitary reflection on her new selfhood, tears welled up in her eyes in gratitude for all the goodness that she had received, and her only wish was that time would not fly, but stand still instead, so that the present would last for ever. Beyond that she desired nothing, and a sense of infinite rest and blissful, blue tranquility emanated from her being.”
Yet the God to whom she prays for this stasis does not answer her prayer, for time by its very nature cannot stand still. And moving and even sympathetic though we may find Eline’s thoughts here, we can also detect in them signs of the pernicious weakness that will destroy her. Her hopes are unrealistic, and fear plays too great a part in them; indeed, they amount to a desperate desire to have subtracted from existence anything demanding or painful. They are also self-centered; in this respect Eline’s “new selfhood” differs little, if at all, from her former one. Does her fiance have his rightful part in these wishes of hers for the future to be cancelled?
Another great rediscovery from Archipelago . . .
OK, two books left to cover, and then on Thursday we’ll be announcing the finalists for both fiction and poetry.
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. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
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. . .