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 to Santa Cruz from La Laguna, our lonely diarist supports his frugal existence by reporting to a dead-end job at a slot machine parlor. The diary’s dates span October 5 to May 2 of the following spring of a nameless year(s) that seems to be the late 1990s near the end of the Fujimori presidency.
In a series of moving, artfully crafted entries that impressively synthesize the emotional spontaneity of self-reflection and metatextual associations, the narrator explores his life, friendships, and love affairs past and present. Benavides’s limpid narration smoothly fuses memories, hopes, and the familiar anguish of the lovelorn. . .
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 artists and intellectuals, Souffles was a written fight for democratic ideals and a new Maghrebi literature following independence in Morocco. For those of us who can’t read French or Arabic, or who don’t have the attention span to sift through all of the archives, we now have the excellent Souffles-Anfas: A Critical Anthology, edited by Olivia C. Harrison and Teresa Villa-Ignacio, with just the right amount of historical background and contextual commentary. There is also a delightfully substantial discussion of the different translation methods used by their array of skillful translators, including (to name only a few) Andrew Zawacki, Anna. . .
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 Berlin by Aleš Šteger, I am reminded of Jarrell’s idea because I am supposed to be writing a review of Berlin and I realize that I am not Šteger’s ideal reader. I came to the book with expectations and am, to be completely honest, disappointed. But so what? A book didn’t do what I’d hoped it would do. Does that make it a failure?
Of course not. It makes it a book with a specific vision that seemed well suited to my tastes and interests, even if the execution was different than I’d imaged. I love books that make interesting. . .
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 beautiful, or that feels so right in my hand. I didn’t have much interest in guns before, but the moment I saw it, all I could think about was making it mine.”
The “I” here is a young man named Nishikawa. He’s probably in his 20s, because he’s a university student, but beyond that, there’s not much to glean from his personal life, because he’s not one for introspection. Much more fascinating is his new object of obsession, and like a man sleepwalking through life, Nishikawa finally seems to have a purpose: to use that gun.
For a debut novel, there is. . .
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 holding your newborn for the first time or meeting the woman who will become your wife? For Heiner it is the 224 weeks he endured as a political prisoner at Auschwitz. What marks Held’s novel as an important addition to the large body of historical fiction about the lives of camp survivors is her exploration of Heiner’s psychological need to embrace his Auschwitz experiences rather than struggling to repress or overcome them.
The narrative begins in the early 1980s and skips forward and backward across what Heiner calls his “three lives” relative to Auschwitz—before, there (which “lasted forever”), and after. Raised. . .
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 to a tidy little room with a desk. Inside this room, he feels a profound sense of peace. The problem is that Björn is the only one in the office who can see the room.
Björn is a new employee at “the Authority” at the start of the novel. He describes himself as ambitious and smart, but within a matter of pages, it becomes clear that he’s unreliable. He reprimands a co-worker for allowing the files on his desk to spill onto Björn’s, an obvious overreaction. We begin to realize that the whole office is concerned about Björn’s strange behavior when. . .
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 of the conversation through my office door, and never know what Tom’s responses are), I was particularly intrigued by the Feminist Press book Julia plugged, Thérèse and Isabelle by Violette Leduc. Now, I don’t remember what it was that made me want to read this book—the fact that Feminist Press had published it (and I’ve been interested in their work for a few years now), the fact that Julia sounded particularly excited about it (as we all should be and are about our respective books!), or the fact that it promised some pretty sultry scenes (who doesn’t want to read. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven thousand Bengal tigers: tell me—who needs protecting most? Yes, you decide who needs most care. A dying African, Chinaman, or Scotsman or a beautiful tiger killed by a hunter. A tiger with its pelt of matchless colours and its flashing eyes is far more beautiful than a varicose-veined old git like me. What a difference in the way it carries itself. How elegant the one and how clumsy the other. Look how they move. Put them next to each other in a cage in the zoo. The children gather round the old man’s cage and laugh as they watch him. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what is it… Dalkey Archive—they want 14 bucks for a 50 page book?”
“That’s pretty short.”
“It is, but the book is good. What does it matter how long it is if it’s a good read?”
“I guess. So is it?”
“A good read?”
“It is. Oh yeah.”
“Rambling, eh? Sounds like fun.”
“It’s not rambling like a romantic wayward hobo boxcar type of rambling, though.”
“No? Too bad.”
“But it’s good. Rambling, in this case, means rambling imagination.”
“The protagonist. He’s an old guy and his mind rambles and we. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be found only in great literature.” You will find this on the covers of Andres Neuman’s works. In addition, Music & Literature claims “Neuman has transcended the boundaries of geography, time, and language to become one of the most significant writers of the early twenty-first century.” Based on Neuman’s introduction to the English-speaking audience with his novel Traveler of a Century —which I still personally believe is our modern-day War and Peace or Anna Karenina —I find absolute truth in the quotes from both Roberto Bolaño and M&L.
The Things We Don’t Do —Neuman’s latest work in English translation—does not disappoint. Admittedly,. . .