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.
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .