5 July 11 | Chad W. Post

The latest addition to our Reviews Section is a piece by Sara Cohen on David Toscana’s The Last Reader, which is translated from the Spanish by Asa Zatz and available from Texas Tech University Press.

Sara—a summer intern and student here at the University of Rochester—is working on reviews of a few books in Texas Tech’s Americas Series. We wrote about this series a few months back, and it looks like we’ll be highlighting at least one of their forthcoming titles in the not-too-distant future.

But more on that later. For now, here’s the opening to Sara’s review of Toscana’s novel, which was shortlisted for the Romulo Gallegos International Novel Prize and won the National Colima Prize, the Premio Jose Fuentes Mares, and the Antonin Artaud Prize.

David Toscana’s The Last Reader stands as a challenge for the most dedicated readers. On the upside, it’s a challenge worth taking. Toscana’s novella vaguely imitates a murder mystery, but the real focus lies in blurring the lines between active reading and authorship, and more generally between reality and fiction.

The Last Reader is set in Icamole, a small impoverished village in Mexico, in the middle of a yearlong drought. Wealthy Remigio takes pride (and showers) in water that lines the bottom of his well, until the day he finds the water obstructed by a teenage girl’s corpse. Remigio goes to his father, Lucio, for advice, and here we meet the titular character. Lucio is Icamole’s last and only reader. When Remigio presents the problem of the corpse, Lucio reacts with the bibliophile’s instinct—he looks to his library. He zeroes in on a French novel, The Death of Babette, whose heroine’s physical description matches that of the corpse. Lucio names the corpse Babette, and suggests Remigio bury Babette in his garden, like the killer in The Apple Tree.

With this premise, Toscana’s scheme is set in motion. Lucio, the esoteric, lovably bookish father, quickly wins our hearts. (By contrast, Remigio, selfish with his water and wary of Lucio’s advice, seems a bit more questionable.) It’s fun to read about how Lucio organizes the abandoned library with great dedication and verve. Books he likes find a place on the library shelves, but any book he deigns trite (including the amusingly obvious anti-racism manifesto The Color of Heaven) or otherwise lacking gets marked “Withdrawn” and thrown into a cockroach-infested “book hell” with other rejected titles. As he works, Lucio offers the reader tips to quickly evaluate book quality. For example, he claims the ending of a book (though not the beginning) is an effective measurement of overall quality.

With such qualifications about good and bad novels, Toscana sets up a high standard for his own novel, and yet he does not disappoint.

To read the entire review, click here.


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