The latest addition to our Reviews Section is a piece by Vincent Francone on Claudio Magris’s Blindly, which is translated from the Italian by Anne Milano Appel and published by Yale University Press as part of their Margellos World Republic of Letters Series.
Yale’s World Republic of Letters Series deserves a special shout-out for all the great work they’ve been doing. At it’s core, this is a really admirable undertaking:
The Cecile and Theodore Margellos World Republic of Letters series identifies works of cultural and artistic significance previously overlooked by translators and publishers, canonical works of literature and philosophy needing new translations, as well as important contemporary authors whose work has not yet been translated into English. The series is designed to bring to the English-speaking world leading poets, novelists, essayists, philosophers, and playwrights from Europe, Latin America, Africa, Asia, and the Middle East, to stimulate international discourse and creative exchange.
Most importantly though, over the past few years they’ve published Edith Grossman (and some of her translations), Claudio Magris, Can Xue, Romain Gary/Emile Ajar, Witold Gombrowicz, Norman Manea, and Ranko Marinkovic, among others. (The forthcoming titles are some of the ones that I’m most looking forward to in 2013.)
Anyway, here’s the opening of Vincent’s review:
A few pages into Claudio Magris’s Blindly, the reader begins to ask the same question posed by the book’s jacket: “Who is the mysterious narrator of Blindly?” Who indeed. At times the narrator is Tore, an inmate in a mental health facility. Other times, the narration is handled by Jorgen Jorgenson, king of Iceland, adventurer, and participant in the colonization of Australia and exploration of Tasmania. And Dachau is thrown in, because, why not? Yeah, it’s that kind of book.
What kind of book? Adjectives pop up one after another, all adequate, none quite right. Experimental and modern (and even postmodern) are labels that have been used to describe the book, and sure, they work well enough although these terms have been bandied about so often that I fear they will not suffice. I am tempted to call it a dream—a very troubling one where stories serve as both balm and irritant.
The book is dense, multi-layered, polyphonic, and quite a challenge, though not without rewards. Despite the setting, the novel is really staged in the dialogue of Tore Cippico (or, sometimes, Cippico-Čipiko), inmate, adventurer, and prisoner. The distinction between all three is thin:
“It’s no accident that Dachau was established in 1898 as an institution for the feeble and mentally ill, idiots and cretinoids . . .”
Click here to read the entire review.
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