Over at the B&N Review, Matthew Battles (Harvard University’s rare books librarian and author of Library: An Unquiet History, Widener: Biography of a Library, along with other articles) has a long, interesting piece on Tove Jansson. He talks a bit about the recently released Fair Play, but I really like this bit about BTBA winning title The True Deceiver:
Rarely have fiction’s ubiquitous and essential challenges been more forcibly evoked than in Jansson’s short novel The True Deceiver. The novel opens in a coastal village besieged by snow—“this steady snow piling up against doors and windows and weighing down roofs and never stopping even for an hour. Paths filled with snow as quickly as they were shovelled out . . . People woke up late because there was no longer any morning.” Katri Kling, the novel’s fierce, embittered, and sharply intelligent anti-heroine, is fixated on the sumptuously empty house of local celebrity Anna Aemelin, an illustrator of children’s books whose art consists of mesmerizingly detailed paintings of forest underbrush populated by plump, downy bunnies. The yellow-eyed Katri lives above the shop where keeps the books—and whose shopkeeper torments her with his presumptuous longing—and takes care of her slow brother Mats and a large, nameless dog. “It’s unnatural not giving your dog a name,” the villagers mutter; “all dogs should have names.” But Katri refuses to name the dog out of a kind of wild and scrupulous honesty: “Dogs are mute and obedient,” she reflects, “but they have watched us and know us and can smell how pitiful we are.
“People idealise their animals, and at the same time they patronisingly overlook a dog’s natural life—biting fleas, burying bones, rolling in garbage, barking up an empty tree all night… But what do they do themselves? Bury stuff that will rot in secret and then dig it up and bury it again and rant and rave under empty trees! No. My dog and I despise them.”
All but allergic to the kind of white lies most people use to get through their days, Katri has become a midwife of hard truths, both relied upon and reviled by her neighbors. Children chant “witch” when they see her, but late at night their parents call upon her cruel insight. (“Why do you go to her?” one villager asks a neighbor. “Yes, she puts your business to rights, but you no longer trust anyone when you come back. You’re different.” Katri sets about winning her way into Anna Aemelin’s life by showing her how people take advantage of her and one another through the never-ending succession of tiny, self-deceiving frauds. But as Anna falls under the spell of veracity, Katri begins to learn that even her scruples can add up to untruth. In their encounter with love, art, and lying, both the artist and the truth-teller undergo a kind of quietly cataclysmic domestication. Even the dog gets a name.
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. . .
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. . .
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. . .
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!. . .
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. . .
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. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .