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The latest addition to our Reviews Section is a piece by Brady Evan Walker on Joseph Roth’s Job, which was recently retranslated by Ross Benjamin and published by Archipelago Books.
Brady Evan Walker is a writer who splits his time unequally between New Orleans and Brooklyn, constantly on the run from the horrors of NY winters and LA (Louisiana, not L.A.) summers. He blogs infrequently at The Hole in Thin Air.
Joseph Roth is one of the greats of European Literature. A number of his books—including the epic Radetzsky’s March—are available from Overlook. Job was first published (and translated into English) in 1930, and was long overdue for a new translation. For more information on Ross’s translation and the history of this book, I’d highly recommend listening to this interview that Bill Marx of PRI’s The World Books did with Ross last fall.
Here’s the opening of Brady’s review:
Job, recently published by the consistently incredible Archipelago Press in a new translation by Ross Benjamin, is the first, and still only, book by Joseph Roth—a household-canon-grade writer in Europe—I have read. (I did have to get this review out in a timely fashion, and his other, more infamous masterpiece, Radetzsky’s March, is over 500 pages and sounds like an Austro-Hungarian version of One Hundred Years of Solitude, of which reading would have undoubtedly delayed this review.)
Job is one of those lyrically imbued novels packed with poetic turns of phrase and unwieldy sentences, slipping, slaloming, galloping and tumbling by with such rhythmic intent that it’s hard, as a writer, not to underline, annotate and copy down at least one thing on any given page. Joseph Roth, a widely-traveled journalist, undoubtedly found in the novel a place to let his verbosely winding hair down.
When we meet Mendel Singer, the “pious, God-fearing and ordinary . . . everyday Jew,” he is a mediocre children’s bible teacher with a dull home and emotionally distant family. When his fourth child is born sickly and skeletally contorted at the opening of the novel, Singer’s average life tips toward the downhill slope. It’s interesting that Roth, himself a Galician-born, shtetl-raised Jew, used village life as the basis for his retelling, where the original Job’s great wealth and influence had no place. Benjamin’s afterword sketches a brief biography, wherein he says of Roth: “[I]t is no wonder that the centuries-old figure of the migrant Jew who is nowhere at home would strike the writer as an embodiment of the peripatetic nature of postwar modern life . . . prompting him to evoke the trope of Jewish exile in Job.”
You can read the full review by clicking here.
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Three Percent is supported in part by the New York State Council on the Arts.
