It’s no secret that we’re huge fans of the New York Sun “Arts+” section and most of the reviewers who write for it. (Especially Ben Lytal, who, in my opinion, has the sweetest gig in all book reviewing.) Since the Sun has yet to penetrate the Rochester market, we usually resort to reading this online. As I was leaving my hotel yesterday, a businessman left behind his copy, giving me a chance to experience in print just how fantastic this section is.
The lead review yesterday was Adam Kirsch’s piece on Tintin and the Secret of Literature by Tom McCarthy. I’m a huge fan of McCarthy’s Remainder and have been interested in reading this new book for a while.
(Besides, since the source text for this book—The Adventures of Tintin—is a translation, I love it unequivocally, not because it’s good or interesting, but solely because it came from another culture and therefore will prevent war.)
One of the things that appeals to me about this review is how intelligent and unapologetic it is discussing McCarthy’s section on Barthes, basing the whole review on Guy Debord’s notion of “detournement,” and, most importantly, not proclaiming this book to be either good or bad, but something more complicated.
The word belongs in quotation marks because these are not the kind of interpretive claims that can be judged true or false. Nor, however, are they the kind of licensed speculation that enriches our experience of a text, even while remaining undecidable — as, for instance, with Edmund Wilson’s claim that the ghosts in James’s “The Turn of the Screw” are just projections of the nurse’s repressed sexuality. Mr. McCarthy’s analyses are, rather, arabesques, sketched over the surface of Hergé’s cartoon — or, if you like, graffiti meant to obscure and deface it.
I am not entirely sure that Mr. McCarthy himself does not want us to see them in the second sense. After all, as he writes, Hergé’s work “betrays in its massive self-reflexiveness a desire to be taken seriously, to be seen to be considering the highly conceptual issues in contemporary art with which its author is clearly au fait, alongside a desire to mock the highness of the establishment that never accepted him as highbrow, to expose its pretentiousness, its fraudulence.” If Mr. McCarthy is out to vindicate Hergé, then Tintin and the Secret of Literature might best be read in this double spirit, as a brilliant and audacious hoax.
But what’s really interesting is that right beneath this review is a piece by translator Anthea Bell (a translator! writing a review!) on Asterix.
In French, Tintin easily predates Asterix; in English by only about 10 years, the time it took for an English-language publisher to venture on a translation of the first pun-packed, wisecracking adventure of the proto-French Gauls as they defy Julius Caesar and his conquering legions, maintaining a provincial but proud Gallic outpost in what is now northwest France. The series was thought just too French to be transplanted. But quintessentially French as it is, the appeal of Asterixian humor has turned out to be pan-European.
There’s no current Asterix book to tie this to, and aside from having translated Asterix a few years ago, no necessary reason that Anthea Bell would be writing about it in the daily newspaper. And in my opinion, that’s fantastic.
And beyond the book reviews, the “sports section”—which is also part of “Arts+”—is less gossipy and more thoughtful than most. (In particular, the breakdown of the Stanley Cup Playoffs is very well-done.)
I have my doubts about the rest of the paper, but there are only a handful of arts sections in the world that can compete with this one.
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .