“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, I was very. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on the events begin to seem more and more extraordinary, and the characters take on a chiaroscuro effect without grays, and the melodrama builds, most people reading the novel will think it’s a bunch of lies, and that such things are impossible in real life. And the truth is exactly the opposite: if you just write down the characters and the “permutations” you can find in a city like ours – right here in Barcelona . . . Believe me, there’s no need to wait for a dark, sensational crime, the kind that scare concierges stiff when they read about them. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with his mother in his childhood home, in debt, jobless, never married, overly critical of others—who somehow still manages to win our affection with his wry pathos.
The dinner of the novella’s title is at the home of the narrator’s unnamed friend (“the last friend I had”) where the narrator and his elderly mother are the only guests. The friend keeps Mama entertained during dinner with gossipy stories about the families in the town of Pringles, and the two are “perfectly in sync” with their back-and-forth name-dropping. The narrator does not participate in their exchange. He has never attempted. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli and comes out from Otis Books/Seismicity Editions next week.
John Locke believed that a person is someone who is conscious of his own existence; this attribute was his personal identity and “without consciousness there is no person.”
Monsieur T. has stabbed his wife five times. He was found in the neighbor’s yard and subsequently interrogated by the police. His answers to their questions provide little or no pertinent information:
What is your name?
What’s your first name?
It doesn’t belong to me.
And your last name?
Monsieur T. is suffering from Alzheimer’s disease. He is unable to connect with the wife and. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As a result, his characters, as well as his readers, are faced with the unexpected. Sometimes the results are quite humorous, but sometimes they are so fascinating that the reader is not sure what to think. Whatever events take place in a piece, though, the French writer, who won the Prix Goncourt for I’m Gone (also available in English from The New Press), always proves himself to be a master of the craft that seems to be enhanced by the sharp clarity brought by translator Linda Coverdale.
The pieces in The Queen’s Caprice are connected by history. That’s not to say that. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge in expensive European hotels.
The woman is Therese Irxmayer, aka Lady Holly, an arms dealer with a sharp mind, a history and a great derriere. The novel’s genesis rests in her mysterious presence. Concession is a fantastic romantic-sexy-spy novel, but it is also a deeply considered psychological exploration of real-life events in colonial Shanghai. According to Xiao Bai, while he was in the early stages of researching the novel, he happened upon this line in the Shanghai Municipal Archives:
It was the White Russian Woman who first attracted Lieutenant Sarly’s attention.
This woman was Therese. Xiao continues:
That is how it all. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love. Even though it’s a very Russian novel that occasionally addresses problems in that country during the nineteenth century, it appeals to modern-day readers because Tolstoy’s works show that the events that have the greatest impact on our lives are not the major ones, but the ordinary, everyday ones. But unlike Tolstoy’s other magnum opus, War and Peace, Anna Karenina is much more straightforward in getting that point across.
Yet, it’s not a perfect novel. This statement may surprise those who have heard it declared not just one of the greatest, but the greatest novel ever written. For the most part, the. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the forest and cloaked in mist, belongs to the past; it has been the summer home of the Brodal family for generations, and their annual descent has endowed it with the wonder and deep mythos of childhood and family identity. The structure comes to the reader as familiar—we know it from Nabokov’s childhood summers at Vyra in Speak, Memory, and from the Ramsay’s retreat in Virginia Woolf’s _To the Lighthouse_—and so the beams of Mailund are as laden with our memories as they are with that of Siri, Jenny Brodal’s daughter, now staying at the estate with her husband Jon and. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other unnamed, usually voiceless, person—recollecting their life, stitching together what is remembered with the forgotten, as much as they can, from beginning to end, though not necessarily in order. Archipelago is a fitting publisher for This Life, given that two of their other books, Stone upon Stone and Treatise on Shelling Beans are masterpieces of the genre. This Life doesn’t reach the heights that those works do, but contributes its own perspective to the genre.
Sussie relates not just her life, but the history of her family, from well before the Boer Wars, then through them, and into the uncertain dates of. . .