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As in years past, we will be highlighting all 25 titles on the BTBA Fiction Longlist, one by one, building up to the announcement of the 10 finalists on April 10th. A variety of judges, booksellers, and readers will write these, all under the rubric of “Why This Book Should Win. You can find the whole series by clicking here. And if you’re interested in writing any of these, just get in touch.
Dublinesque by Enrique Vila-Matas, translated from the Spanish by Anne McLean, and published by New Directions.
This piece is by bookseller and BTBA judge, Stephen Sparks.
Few contemporary writers are as conceptually imaginative or as willing to acknowledge their debts as Enrique Vila-Matas, which comes as a breath of fresh air, especially to those of us reading in the United States, where literary insularity is the norm. Each of his books to be translated thus far—Montano’s Malady, Bartleby & Co., Never Any End to Paris, and our subject here, Dublinesque—takes as its starting point a book or writer and from that point delves into clever, incisive examinations of what it means to be a modern reader.
Dublinesque (translated by Rosalind Harvey and Anne McLean) is concerned with a pivotal moment in the history of literature: what Vila-Matas refers to as the end of the Gutenberg Galaxy. It is, as one might expect, an elegy. The plot follows the downward trajectory of an exemplar of that unfortunate species, the literary publisher, whose battles with alcohol and entropy (personal and professional) constitute the lament at the heart of the book. Riba, whose career has long since dried up and whose days are spent in front of a computer, grows convinced that in order to exorcize his demons, he needs to hold a funeral for the age of the printed book. There is no better place for this than Dublin, he reasons, because Joyce’s masterpiece was the culmination of the printed book. And so he begins to plan this funeral, all while battling his own personal demons and obsolescence.
Like Vila-Matas’ other books, this is one is melancholy, focused like the others on exhaustion—it’s also a rain-soaked and haunted novel. Dublinesque nevertheless manages to maintain a degree of levity. This is due to Vila-Matas’ wistful humor and his vast knowledge of literature: the book is full of allusions, references, cameos, and digressions on such figures as Robert Walser, Juan Carlos Onetti, Emily Dickinson, Julien Gracq (!), and, more centrally, Joyce and Beckett. In typical fashion for Vila-Matas, there are also references to fictitious writers who leave the reader pining for more. Nothing impresses so much as the range of Vila-Matas’ reading and his ability to weave into his narrative strands from other works, a technique that helps to bolster his occasionally patchy plots.
To be honest, I found the thin spots in the book endearing in a way, as if Vila-Matas littered his book with trapdoors into which a reader might fall. Of all the books on the longlist, Dublinesque is the most reflexive and its concern with the state of serious literature, where it’s heading and how it got here, makes it worthy of winning this year’s Best Translated Book Award.
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Three Percent is supported in part by the New York State Council on the Arts.
