Patrick is pumping out these book reviews for us, and has much to say about Kafka’s Hat, the title of which, I’ll admit, makes me want to giggle. As does Wigrum. I don’t think I can explain why. Though it may have something to do with the fact that I’ve been up before 06.30 every morning for the past week and had to sit through my first ever jury duty pooling. SPOILER ALERT: I made it to the penultimate round and was sent home in the end. And now it’ll be another eight years before I can make my high school mock trial dreams come true. In Monroe County, at least.
ANYWAY! Here’s the beginning of Patrick’s review, on a book that definitely seems worth checking out (and not just out of jury duty boredom):
Quebecois author Patrice Martin’s first book, translated into English by Chantal Bilodeau as Kafka’s Hat and published by Talon, is strongly influenced by Italo Calvino, Jorge Luis Borges, and Paul Auster. I’m putting this up front because it is something Martin really, really wants you to know. These authors are named in the jacket copy, all three are quoted for epigraphs, all three are repeatedly mentioned, quoted, or read during the course of the book, and, in the end, all three make their own parodic appearances. There is also, of course, Martin’s claim to Kafka, with the hat of the title playing the MacGuffin and a single initial protagonist, P. However, a stronger comparison, though with less claim to groundbreaking heights, would be Murakami—strange things happen to characters for no reason; their boring, private, structured lives are broken and exchanged with interesting, surprising ones; characters repeatedly make sudden decisions “without knowing exactly what is motivating [them]”; and, of course, love is found suddenly, by chance. It is this last reference point that says the most about what Martin accomplishes, rather than what he aspires to accomplish.
The first and longest of the book’s three sections focuses on the protagonist P. Set up as an analogue to Kafka’s Ks, he instead begins as something more interesting, and anxiety-inducing. His is a world of the mundane—when he enters a cab, he “exchang[es] a few banalities with the driver about the weather, chronic traffic jams and the New York tourist season”—so when he is given a mission by the Boss at Stuff & Things, Co., his one thought is to accomplish this business in order to be a good, successful, productive, and eventually rewarded employee. P. is not particularly interested in the importance of the hat of a famous writer, in fact he cannot remember who the writer is. His only interest comes from wondering why the Boss could want such a hat, what importance a writer could have to such an important business man. The mission and its strange interruptions begin P.’s break from what he believes about himself.
For the rest of the view, click through here.
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .