The latest addition to our Reviews Section is a piece by Brian Libgober on Pascal Quignard’s The Roving Shadows, which is coming out this month from Seagull Books in Chris Turner’s translation from the French.
Brian Ligboer is a new reviewer for us. (Jeff Waxman made the introduction.) In his own words, he “is the author of a novel, Memories from Beyond the States, which is currently under consideration by a few agents. Previous reviews of mine have appeared in Pank, The Hypocrite Reader, and The Midway Review. I currently live in Chicago where I am working as a polling analyst for Obama’s reelection campaign.”
Quignard’s book sounds really interesting. Just check out the Seagull Books jacket copy:
The first book in Quignard’s Last Kingdom series, The Roving Shadows can be read as a long meditation on reading and writing that strives to situate these otherwise innocuous activities in a profound relationship to sex and death. Writing and reading can in fact be linked to our animal natures and artistic strivings, to primal forces and culturally persistent fascinations. With dexterity and inventiveness, Quignard weaves together historical anecdotes, folktales from the East and West, fragments of myth, and speculative historical reconstructions. The whole, written in a musical style not far removed from that of Couperin, whose piano composition Les Ombres errantes lends the book its title, coheres into a work of literature that reverberates in the psyche long after one has laid it down.
And here’s the opening of Brian’s review:
In 2002, Les Ombres Errantes won the Prix Goncourt—possibly the most prestigious award a French literary work can receive—despite the fact that it is not a novel. Before considering The Roving Shadows in its own right, it is worth pausing to reflect on the significance of that and its subsequent publication in English. Almost one half of the winners of the Prix Goncourt have yet to appear in English translation and in that sense, this translation by Chris Turner is truly an event.
The Roving Shadows is a remarkable work, primarily because it straddles the line between contemporary French literature, which is vastly under-read in the United States, and French critical theory, which is probably more popular outside of France than it is inside. Indeed, it is difficult to say which genre of writing it actually fits. On the one hand the book contains many examples of sensuous description and personal memoir—you know, the type of thing one expects to find in a literary work. On the other hand it also is full of thought-provoking aphorisms and historical anecdotes, favored modes of expression by the critical theorists. Quignard’s book straddles the divide between critical essay and narrative in a way that is highly idiosyncratic. Instead of segregating the work into discrete, genre-specific parts, as Nabokov did in Pale Fire or The Gift, Quignard treads freely over the border between styles, often alternating within a single paragraph.
Click here to read the entire piece.
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