Sarah Gerard is a writer and a bookseller at McNally Jackson Books. Her work has appeared in the New York Times, New York Magazine, Bookforum, the Paris Review Daily, the Los Angeles Review of Books, Slice Magazine, and other publications. She holds an MFA from The New School and lives in Brooklyn.
I’m only going to talk about one book in this first BTBA blog post. Okay, maybe two. Okay, maybe three. But first, the one: Christa Wolf’s City of Angels (FSG). Oh my God (as it were). This book. This book, you guys.
Not that I’m surprised. Admittedly, I’ve only read one of Wolf’s other books, Cassandra, a retelling of the Fall of Troy in the first-person from the point of view of Cassandra, the cursed soothsayer. It’s completely devastating and oh-so-complex, grappling with issues of patriarchy and violence, and language and…well, anyway. Highly recommended, but that should go without saying because Wolf, I’ve come to realize, is (was, R.I.P.) a complete genius.
I’ve read a lot of great books this year, but City of Angels is by far the most rewarding. I’m halfway through and the marginal notes are getting a bit out of hand. Wolf’s ability to create layers of meaning in a peripatetic structure across three, sometimes four, different time periods is astounding. Set in Los Angeles around the time of Clinton’s first election, she manages weave in the Holocaust, the fall of the Berlin Wall, the LA. riots, architectural and anatomic metaphors, particle physics, Communism, Capitalism, Buddhism, Greek mythology and so much more in order to investigate the further themes of loss, grief, surveillance, secrecy, self-examination and identity, translation, documentation, etc. I could go on. I really could. And she does this with utmost grace and fluidity.
Speaking of translation, Damion Searls has done a knockout job here. The prose is lovely but invisible in the reading, which is exactly what it should be. Wolf often hints at subtle connections between events by ordering them back-to-back, but never (never, this would be a sin to her, I think) states the connections overtly. Searls knows, though. He’s on it, and he’s done his job deftly. Systems of meaning rise to the surface like bubbles in a glass. So refreshing.
My favorite part of this book so far is the connection Wolf draws between political bureaucracy and architecture, using anatomical language to describe states of sickness or health as they occur in a population living under a functional or dysfunctional government, and the way architecture changes under those systems, directing bodies. The Berlin Wall is probably the biggest example of this. Again, Searls has handled this beautifully.
Wolf’s use of pronouns (I & you, most particularly) is also absolutely brilliant and I applaud Searls’s very elegant handling of them, but I would need a lot more room if I were going to talk about that in-depth. One blog post is not enough. I suggest you just go out and buy the book already.
But hey, there are other books, right? Firefly by Severo Sarduy – this is definitely another longlist contender for me. The book is a bildungsroman following the namesake young man through a series of sad and hilarious encounters with quasi-fabulist doctors and officials, the owner of an orphanage, and a young woman whose fate is bittersweet to say the least. Sarduy’s language is colorful and shapely, and his ability to frame tragedy in a humorous context is definitely one of his many strengths. Likewise, Mark Fried’s ability to relate Sarduy’s complex meanings in a way that remains childlike and playful is very impressive, and makes reading Firefly at once a fun and intellectually stimulating experience.
The last book I’ll mention is maybe not (or maybe is, we’ll see) a longlist contender for me, but I really think it merits attention because its story is so interesting and because (who knew?) Ursula K. Le Guin translated it. Squaring the Circle by Gheorghe Săsărman (Aqueduct Press) is “a book of brief descriptions of imaginary cities.” Sound familiar? It’s basically the Romanian Invisible Cities, and was published roughly around the same time, although the introduction to this edition suggests that Calvino and Săsărman were unaware of each others’ work. Calvino’s enjoyed greater success largely because Săsărman’s book was banned while Calvino’s had wide distribution. If I can speak honestly here, I actually have no preference for one over the other – I was completely enraptured by Squaring the Circle and would only, maybe, not suggest it for the longlist because I have mixed feelings about the translation. Maybe I’ll write more about this in a later post. In the meantime, I must say that, in spite of these mixed feelings, I really loved this book and think you should, too.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .