This book was another one several of our reviewers jumped at, and yet another strong and insanely fascinating sounding piece of German literature, and German literature in translation. That, and Inka Parei has a pretty rad sounding name, and some intriguing titles to boot (The Shadow-Boxing Woman, to name another).
Here’s some of Patrick’s review:
Of all the Holocaust novel genres, the most interesting is often the one that doesn’t describe clearly defined horrors, written with a clarity that brings the events into the present, whether written in present tense or not, but the one grasping at memories, personal or cultural, and even more so the ones of shadow memories, of the gaps that narrators have passed over or lost—_Sebald’s Austerlitz_ one of the definers of this sub-genre. Inka Parei’s What Darkness Was takes this forward, acknowledging that history has been made in Germany since the Holocaust, and that it too can be poorly understood and put into a larger continuum of culture, and lost or denied culture. Set in late 1977 in West Germany and within the addled, lost consciousness of an old man, What Darkness Was isn’t a novel of direct connections, of completeness, of action and reaction, or of explanations for the reader, but instead of gestures toward, of using abstraction, atmosphere to set the reader up to find how it comes together, and what it has to offer from the past and for the future. Its title, embedded in a passage midway through this slim novel, stands as an example, or even a definition of this . . .
At the opening, our old man protagonist is in complete darkness, even literally, but also in his place in life. His house is not his home: it is not one he built, bought, or aged in, but inherited, without being able to remember from whom. Disconnected from his present, “part of him was still living in Berlin;” yet not able to recall enough of his past to bring that to life either. As Parei builds the setting, there is slight humor in an old newspaper with a picture of Elvis that is not, though contemporary for the novel, a cultural calling from the past, refusing idealization by being not the hip-swinging Elvis, but the aged, fat, soon-to-die-on-a-toilet Elvis. Though humor is not a running current, a keenness of detail is, and Katy Derbyshire’s translation preserves the wonderful way that states of being and atmosphere intermingle and become the same . . .
For the rest of the review, go here.
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. . .
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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. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .