As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch.
Maidenhair by Mikhail Shishkin, translated from the Russian by Marian Schwartz and published by Open Letter Books
BROMANCE WILL IS IN THE HOUSE.
Mikhail Shishkin’s debut English-language novel Maidenhair deserves to win the 2013 Best Translated Book Award because it is not only the best translated book in the best translation to have come out in English—it is the best book that came out in 2012, period. Accomplished translator Marian Schwartz has wrought a miraculous, beautiful, lyrical rendition of Shishkin’s unique poetic language that draws on the grandest narrative traditions of the nineteenth century classics and combines them with the living, breathing Russian language as it exists today.
Language itself, and the importance of the Word in life, love, and history, is at the heart of Maidenhair. The plot, or what semblance there is of a plot, centers on an unnamed interpreter who works for the Swiss immigration office, translating the horrific stories of would-be Russian immigrants describing why they deserve asylum in Switzerland to the interpreter’s boss, a figure described as Peter, guarding the gates of Heaven, determining who is able to enter Paradise within the Swiss borders. The interpreter is the axis on which the narrative magic of Maidenhair spins: he is a narrator who retells the stories of the asylum-seekers; a conduit for the historical stories he is reading about the Persian Wars; a doting father writing letters to his son, all addressed to “My dear Nebuchadnezzasaurus!”; the son lives with his former wife, who in one thread travels to Rome with the narrator, only to have their marriage fall apart; he is a would-be biographer of a talented young singer in late tsarist, early Soviet period, Isabella Yurievna.
The stories all weave together in head-spinning fashion, the interpreter is the only connection between the separate narratives within the novel, though it takes a while for the reader to piece together how these stories are connected, as the characters’ philosophical monologues and asides demonstrate the grand themes Shishkin is working with. And that reminds me of Shishkin’s own words: that Maidenhair is not a novel to be understood, but rather to be felt; it is a novel that hinges less on plot than on the emotional resonance that connects each separate story. Schwartz handles the narrative shifts within Maidenhair with the grace of a prima ballerina, confident and even-keeled, even as the narration jumps from an early twentieth century language of the Petersburg intelligentsia to the coarse, brutal language of refugees who may or may not be fleeing violence and persecution in their home villages.
And to personally editorialize, to add an element of competition to why Maidenhair in particular deserves to win this year’s BTBA rather than any of the other extremely well-qualified works of translation: I can say in all honesty that Maidenhair is the best Russian novel to come out in English since Mikhail Bulgakov’s Master and Margarita exploded into the world’s consciousness in the mid-1960s.
Like many others before me, I have suffered an unvanquishable love of Rusisan literature ever since I took a Nineteenth Century Russian Literature course my freshman year at university. And I love it all now, all Russian literature: the grand Russian novels of ideas, the linguistic and stylistic revolutionaries of avant-garde poetry, the mystical philosopher-authors exploring the outer reaches of human existence, the brilliant and brave souls who dared to describe the absurdity of totalitarianism, be it tsarist, Soviet, capitalist . . . but I had been feeling at times like I’d reached the end of the Russian rope, that I’d made my way through all the great Russian works, and all I had left to content myself with were forgotten little gems that slipped between the cracks of the great Masters; but all the while I kept hoping beyond hope that somehow, someway, a contemporary Russian author would emerge to re-engage me with the history of Russian literature, to give hope to the written word in ways I thought I’d never feel again, not since I was introduced to that towering genius of twentieth century Russian letters, Bulgakov (and how wonderful and how tragic it is to be introduced to true works of creative genius like Master and Margarita, wonderful to know greatness on such a level, tragic in the knowledge that such works of genius stand alone, once you meet them, you have drastically winnowed down the number of life-changing novels remaining to be discovered, and nothing can replace the joy of discovery, of opening a novel for the first time not knowing by the end that it would completely change your life, that you would become a different, more fulfilled human being by the time you closed that novel. And yes, you can re-read, revisit, re-engage with these classics, these works of creative genius, and you can develop a deeper relationship between the text and the characters and the author behind it all, but you cannot replace the joy that comes from that first reading, the joy of discovery).
Maidenhair is the novel I have been waiting for; a powerful, moving novel that combines everything I love about literature in general, the beauty of language, the power of ideas, the love of characters, the genius of the Author as Master. I believe in the ability of the written word to change and transform physical reality outside of the textual vessel. I know I am not alone in these loves, these beliefs, and I know now that Russian literature is alive and well in so many ways, for there is an author who can stand shoulder-to-shoulder with the greatest of Russian writers in history, who can craft the most beautifully-woven novels of ideas, because I have read Mikhail Shishkin’s Maidenhair, and I was able to feel it all again, the pure, unadulterated joy of discovery, of a truly great work of literary fiction, as if for the first time.
It is no exaggeration to describe Mikhail Shiskin as the greatest living Russian writer. Shishkin is already renowned in Russia as the first author to win all three of the big literary awards there: the Russian Booker, the Big Book, and the National Bestseller. I read and fell in love with Maidenhair before Shishkin withdrew from the official Russian delegation to the 2013 Book Expo America, in effect making him a dissident author. And if there is one thing history has shown, it is that the West loves dissident Russian literature. Think of the Russians who have won the Nobel Prize: Ivan Bunin (the most underrated of the great Russian authors, won the Nobel in 1933), Boris Pasternak (1958), Alexander Solzhenitsyn (1970), Joseph Brodsky (1987)—all officially dissidents, yet all deserving for the quality of their writing, the eternal nature of their ideas. Even before his recent political stance, Mikhail Shishkin was a worthy candidate for future Nobel laureate, and the appearance of Maidenhair in English translation started generating Nobel buzz immediately. Some say it takes a few works in English to catapult an author to global status worthy of Nobel recognition: Maidenhair is Shishkin’s first novel to appear in English, published by Open Letter Books, while his second English novel, The Light and the Dark, will be published by Quercus in November 2013. Shishkin’s Nobel future is unknown, his present candidacy for BTBA is more clear. He deserves to win, Maidenhair is a book of uncommon, exceptional genius, and its win would reserve its rightful place as the best translated book of 2012.
If this piece doesn’t convince you that Maidenhair should win the 2013 Best Translated Book Award, or if you can’t be bothered to read a 900-word love letter to Maidenhair, take the advice of the brilliant booksellers at the Elliott Bay Book Company in Seattle, they say what I am trying to say in far fewer words, with their own style of poetic genius:
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .