I’m pretty bummed about this one. And my secret hope of hopes is that Mo Yan’s Pow! didn’t make the list because everyone is so enamored with Sandalwood Death, which we officially decided to make eligible for the 2014 BTBA.

I reviewed this novel a couple months back, and will be using it in my “Translation & World Literature” class later this spring as part of our six-title “Best Translated Book” class rumble. And I personally think it could win.

Anyway, here’s a bit of my review:

Pow! consists of a story within a story: in the present, Xiaotong is relating to a monk his life story, while witnessing a host of very surreal events—a meat celebration gone awry and ending with bunches of dead ostriches, a man boning 41 women in a row, etc.—with the goal of confessing in order to become a monk. By contrast, the story he tells of growing up in Slaughterhouse Village, where his dad runs away with the town floozy, and the village leader teaches everyone to maximize profits by pumping their meat full of water and formaldehyde, is much more realistic . . . sort of.

I don’t want to spoil too much for readers, but the core plot of Pow! is a rather tragic and disturbing story involving Xiaotong’s parents and their relationship to village leader, Lao Lan. Told in a straightforward, realistic fashion, it would resemble a soap opera, filled with eating contests, battling egos, poverty, sex, and death. Oh, and meat.

The brilliance of this novel—and the reason it deserves comparisons to so many great authors—is the way in which this tragic story is filtered through the eyes of a 12-year-old boy. (Granted, Xiaotong is a 20-something when he’s telling the monk his life story, but his mind has never really progressed, and his myth-making is more like a pre-teen than a fully-formed adult.) As a result, the story gets pulled and twisted out of shape, and what is “real” becomes a lot less certain—especially when Xiaotong keeps insisting on his story’s veracity:

“Wise Monk, where I come from people call children who boast and lie a lot ‘Powboys,’ but every word in what I’m telling you is the unvarnished truth.”

Uh-huh.

It’s not like an unreliable narrator is anything new in literature, and post-Nabokov, it’s almost second-nature as a reader to try and see through to what a narrator isn’t saying to really get what’s going on. But I really like the way in which these two narratives—one which centers around the construction of a “Meat God” statue (presumably made in honor of Xiaotong) and functions in a sort of timeless, surreal zone; one that centers around Xiaotong’s adventures and war with Lao Lan, and is filled with boasts and impossible feats (a 12-year-old eating 5lbs of meat, the firing of 41 mortar shells) transforming Xiaotong’s life into something much grander than it really is.

It’s not like Mo Yan needs more recognition after winning the Nobel Prize, but I would like him to get some recognition as a literary writer instead of as a Chinese writer simply because the first puts the emphasis on his wild narrative stylings and the latter makes his works and position as a writer all about politics. And that sucks.