6 June 12 | Will Evans | Comments

The latest review to our Reviews Section is a piece by Vincent Francone on Laurent Binet’s HHhH, which Sam Taylor translated from the French and is available from Farrar, Straus and Giroux.

Laurent Binet was born in Paris, France, in 1972. He is the author of La Vie professionnelle de Laurent B., a memoir of his experience teaching in secondary schools in Paris. In March 2010, his debut novel, HHhH, won the Prix Goncourt du Premier Roman. Laurent Binet is a professor at the University of Paris III, where he lectures on French literature.

Here is part of his review:

There is no such thing as nonfiction. Without a doubt, someone will disagree with that statement, though they would be hard pressed to compile sufficient evidence to support their position. Even the most skilled biographer or historian must confront the reality that it is never possible to accurately recreate an event without exercising the rights of artistic license.

Laurent Binet not only realizes this—he embraces it. HHhH, his first novel (if it can be called such) spends a considerable amount if its 327 pages dwelling on Binet’s inability to truthfully tell the story of the assassination of Reinhard Heydrich, the “butcher of Prague,” Nazi extraordinaire. In this sense, HHhH is not a traditional work of historical fiction, as it meanders, strays, and focuses more than slightly on Binet’s life in conjunction with his Heydrich obsession. I write that he has an obsession with Heydrich himself—his early life, his rise to power, and his death—as the book deals more with him than with Jozef Gabčík and Jan Kubiš, the assassins who (barely) complete their mission. These figures, though they play an important part of the book, are introduced mostly as they are a fact of Heydrich’s life. As such, they are a bit ancillary, though their mission is treated with the same importance as the slaughters of Babi Yar. All of these events circle around Heydrich, the subject of HHhH, though, again, Binet’s struggle in writing the book is as much a part of it as anything else.

Click here to read the entire review.

6 June 12 | Will Evans | Comments

There is no such thing as nonfiction. Without a doubt, someone will disagree with that statement, though they would be hard pressed to compile sufficient evidence to support their position. Even the most skilled biographer or historian must confront the reality that it is never possible to accurately recreate an event without exercising the rights of artistic license.

Laurent Binet not only realizes this—he embraces it. HHhH, his first novel (if it can be called such) spends a considerable amount if its 327 pages dwelling on Binet’s inability to truthfully tell the story of the assassination of Reinhard Heydrich, the “butcher of Prague,” Nazi extraordinaire. In this sense, HHhH is not a traditional work of historical fiction, as it meanders, strays, and focuses more than slightly on Binet’s life in conjunction with his Heydrich obsession. I write that he has an obsession with Heydrich himself—his early life, his rise to power, and his death—as the book deals more with him than with Jozef Gabčík and Jan Kubiš, the assassins who (barely) complete their mission. These figures, though they play an important part of the book, are introduced mostly as they are a fact of Heydrich’s life. As such, they are a bit ancillary, though their mission is treated with the same importance as the slaughters of Babi Yar. All of these events circle around Heydrich, the subject of HHhH, though, again, Binet’s struggle in writing the book is as much a part of it as anything else.

That said, I do not wish to criticize the book for a lack of focus. HHhH is hardly a book about Heydrich or Nazism or Gabčík and Kubiš. HHhH is about the limits of recreation. Much has already been made over the meta structure of the book and Binet’s interjections. Early in the story, Binet discovers an expensive volume that would aid in his research, though he is conflicted about whether or not to spend the money. The book in question, written by Heydrich’s wife, would surely pay an important role in the retelling of Heydrich’s wedding, but Binet justifies not buying the book by writing:

It’s not a bad story. I just don’t feel like doing a ballroom scene, and even less the romantic walk in the park. So it’s better for me not to know more of the details; that way I won’t be tempted to share them […] so in the end, maybe I can do without this overpriced book.

Such statements, which may suggest a lack of commitment to some readers, can also be seen as a confession, one that must ring true to even seasoned historians. There are limits to research, sure, but how often have writers imposed them on themselves? Is this laziness or the admission that not everything needs to be included? If we accept this, we must also accept that even the most exhaustively researched material is subject to the whims, tastes, and interpretation of the writer. Binet’s confessions do not shake my confidence in his ability to tell a story; they merely remind me that all nonfiction is filtered through a net of subjectivity.

What Binet decides is that he is writing an “infranovel”—this after reading Jonathan Littell’s The Kindly Ones. He wonders how Littell “knows that [Paul] Blobel had an Opel.” Binet’s contention is that “if it’s a bluff, that weakens the whole book.” He goes on to discuss the plausibility of Bobel having an Opel, but decides that, “plausible is not known.” This is the sort of quandary that torments him, the sort of small detail the average reader would accept without question. Such is Binet’s true concern in writing HHhH: to show the reader how much of their cherished historical works—be they billed as historical novels or nonfiction—are peppered with bullshit.

The savvy reader will not care. Many of us are aware that even the most detailed and researched work will fall short of the truth (whatever that is). And we will scratch our heads and wonder why the reading public privileges experience over invention. We will wonder, again, why memoirs are so damn important to people who would never pick up a novel. We will be reminded of the debacle over James Fray’s A Million Little Pieces and ask ourselves how so many people could be so easily duped and, more importantly, why they were so hurt to learn that this absurd book was really fiction.

If Binet succeeds in reminding readers that historical fiction, as HHhH could be labeled, is riddled with bits of speculation, that’s great. He has picked up and added to an interesting conversation. This is why HHhH should be read and discussed. Also, it’s quite fun. The story is good and, at times, riveting. Binet’s prose, translated by Sam Taylor, is enjoyable in a way that reminded me of Kurt Vonnegut, more so for the often amusing injections than the brief chapters, some of which total a sentence or two. There are definitely worse ways to introduce such a conversation to a wide reading public. To that end, the publicity onslaught of HHhH is justified. Here’s hoping that readers normally averse to works in translation will pick up a copy of this book and reconsider long held beliefs in the superiority of factual literature.

....
The Nightwatches of Bonaventura
The Nightwatches of Bonaventura by Bonaventura
Reviewed by J. T. Mahany

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. . .

Read More >

Pavane for a Dead Princess
Pavane for a Dead Princess by Park Min-Gyu
Reviewed by Christopher Iacono

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. . .

Read More >

Tram 83
Tram 83 by Fiston Mwanza Mujila
Reviewed by Caitlin Thomas

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. . .

Read More >

Twenty-One Days of a Neurasthenic
Twenty-One Days of a Neurasthenic by Octave Mirbeau
Reviewed by Lori Feathers

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. . .

Read More >

Sphinx
Sphinx by Anne Garréta
Reviewed by Monica Carter

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. . .

Read More >

Morse, My Deaf Friend
Morse, My Deaf Friend by Miloš Djurdjević
Reviewed by Vincent Francone

There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .

Read More >

The Crimson Thread of Abandon
The Crimson Thread of Abandon by Terayama Shūji
Reviewed by Robert Anthony Siegel

The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .

Read More >