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.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .