6 May 15 | Kaija Straumanis

The latest addition to our Reviews section is by Vincent Francone on Vano and Niko by Erlom Akhvlediani, translated by Mikheil Kakabadze and published by Dalkey Archive earlier this year.

I know everyone is still reeling from not being able to correctly guess all the finalists for the 2015 BTBA fiction and poetry shortlists before yesterday’s official announcement, so we’ll just cut right to Vince’s review:

What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that these short pieces (what contemporary writers would call flash fiction) resemble fables and that Akhvlediani’s characters sound a bit like Vladimir and Estragon, Clov and Hamm, and any number of Beckett creations. Which is not to say that Akhvlediani is a Beckett imitator or that his work is really all that Beckettian. The two share a tendency to explore philosophical questions through seemingly simple characters and their exchanges, but the dialectical approach is about where it ends. Which is not to say that Akhvlediani is not an absurdist. That rigid title might not fit perfectly, but it is through such a lens that I was able to find joy in Vano and Niko.

Full disclosure: I read Akhvlediani’s book, translated by Mikheil Kakabadze, immediately after finishing a short story collection by an American writer who clearly took notes during her MFA workshops. Subsequently, I enjoyed the sparseness of Vano and Niko, the immediacy of the prose, the lack of character development, and total abandonment of unnecessary description. If Hemingway’s old adage is correct, that prose is architecture not interior design, then Vano and Niko is a set of beams and girders without walls.

For the rest of the review, go here.


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