Posts filed under 'travel'

What’s New in Translation: February 2024

February 12, 2024  |  in New in Translation, Reviews  |  by Areeb Ahmad, Christina Chatzitheodorou, and René Esaú Sánchez

New writing from Etel Adnan, Satish Alekar, and Djamila Morani!

This month, our selected titles of new publications carry wisdom, mystery, and humour. Below, find reviews of plays by one of India’s most accomplished and innovative playwrights; a compilation of interview with the inimitable Etel Adnan, conducted by Laure Adler; and a PEN Translates Award-winning novel of revenge and self-discovery, set in the Abbasid period.

alekar

Two Plays: The Grand Exit and A Conversation with Dolly by Satish Alekar, translated from the Marathi by Shanta Gokhale, Seagull Books, 2024

 Review by Areeb Ahmad, Editor-at-Large for India

This nifty volume of plays collects two of Alekar’s works, “Mahanirvan” and “Thakishi Samvad”, written forty-six years apart—Born in 1949, Satish Vasant Alekar is a Marathi playwright, actor, theatre director. He was a founding member of the Theatre Academy of Pune and is well-known plays such as for Mahapoor, Begum Barve, Atirekee, and Pidhijat. He is considered among the most significant playwrights in modern Marathi and Indian theatre, along with Mahesh Elkunchwar and Vijay Tendulkar, and lately, he has come to be recognised for his acting in Marathi and Hindi feature films.

“Mahanirvan” or “The Grand Exit” was first performed in 1974, and is a play where a dead man has more dialogue than any living character. The description on the cover is not wrong to equate the character with Sophocles’ Antigone, for he also strongly insists on the method of his last rites; Bhaurao wants to be traditionally cremated at the shamshan ghat, but the cremation ground is in the process of being privatised. Thus, the dead—or rather their relatives—are now being redirected to a new facility which uses electrical incineration.

So Bhaurao lingers around as his body malingers, rotting and fly-infested, while his wife Ramaa grieves intensely, coming to terms with the sudden loss, and his son, Nana, tries to convince him to just go ahead with the cremation, and pass on. While working on the play, Alekar had realised that a dead man cannot speak prose, so Bhau’s dialogues instead take the poetic form—one resembling keertans (religious recitations). READ MORE…

Announcing Our July Book Club Selection: The Animal Days by Keila Vall de la Ville

July 29, 2021  |  in Book Club  |  by Allison Braden

Keila Vall de la Ville’s third work of fiction—and the first to be translated into English—invites readers into the climber’s rootless milieu.

Keila Vall de la Ville’s The Animal Days explores young adulthood at high altitude. The narrator pursues a passion for rock climbing as she struggles to navigate a similarly perilous life at home. But the world of climbing and her escape from civilization come with their own dangers, which close in as the narrative hurtles toward a suspenseful finale.

The Asymptote Book Club aspires to bring the best in translated fiction every month to readers around the world. You can sign up to receive next month’s selection on our website for as little as USD15 per book; once you’re a member, join our Facebook group for exclusive book club discussions and receive invitations to our members-only Zoom interviews with the author or the translator of each title.

The Animal Days by Keila Vall de la Ville, translated from the Spanish by Robin Myers, Katakana Editores, 2021

Rock climbing invites glib metaphors. Inspirational posters—prolific in offices where the only vertical challenge is conquered at the touch of an elevator button—often use summits to symbolize widely held values like perseverance and determination, but the experience of serious climbers is anything but universal. Their insular world trades on levels of pain, risk, and anticipation foreign to the average individual. Enough time in that world can warp perceptions of the other world—the one where the rest of us live. “Thanks to the mountain, you’re able to make out the mechanisms that dictate daily life, life on land. You come back different,” explains Julia, the young narrator of The Animal Days. “Now that your battery has been recharged, now that you’ve obtained this ultraviolet vision, you carry on until you need to plug back into the mountain again. Until everything starts to lose its luster.”

The Animal Days, Keila Vall de la Ville’s third work of fiction and the first to be translated into English, invites readers into the climber’s rootless milieu. Julia’s journey is a world tour of precipices, as she balances her obligations to her dying mother against an escapism inherited from her absent father. Estranged from her everyday surroundings, she finds intimacy among her climbing friends, who provide a respite from her internalized abandonment, and who alone can understand the peaks and falls of a life on ropes. They shirk steady jobs and spend their time chasing both chemical and literal highs.

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The Magical Parallels in Translation: An Interview with Kaitlin Rees, Translator from the Vietnamese

June 7, 2021  |  in Interviews  |  by Suhasini Patni

I wanted to visit Vietnam because I wanted to go to a place I hadn’t expected myself to go.

According to the University of Rochester’s Translation Database, since 2008, only nine Vietnamese original works of fiction and poetry have been published in the US in English translation. Translator Kaitlin Rees is working toward changing that. Since 2011, Rees has been back and forth between New York and Hanoi; she now works closely with poet Nhã Thuyên, with whom she founded AJAR, a small bilingual publishing press which hosts its own online journal and a poetry festival. Her translation of Nhã Thuyên book of poetry words breathe, creatures of elsewhere was published by Vagabond Press in 2016. The following year, she received the PEN/Heim Translation Grant. We recently spoke about her unconventional education, obsession with dictionaries, and intimate collaboration with Nhã Thuyên.

Suhasini Patni (SP): You’ve been alternating between Hanoi and New York since 2011. When did you first visit Vietnam? Did you visit because you knew you wanted to translate the national literature, or was it something you decided to do upon visiting? How did your relationship with the Vietnamese language first begin?

Kaitlin Rees (KR): I started learning Vietnamese when I first arrived in Vietnam, though I can’t say this was my intention before going. My relationship with the language really began out of friendship, love, and curiosity; I was quite ignorant of any possible career path at that time. Besides the practicality, it’s a politics too—being able to communicate in the language of where I lived. The strongest motivation to learn Vietnamese was the simple, personal wish to read the poets whom I met and admired, in particular, the poet Nhã Thuyên.

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Translation Tuesday: “Whalesong” by Aurélia Lassaque

October 6, 2020  |  in Translations  |  by Madeleine Campbell

And her child would have asked her one day why isn’t the Earth called Sea when it’s covered by all that water?

In this week’s Translation Tuesday, a mother’s heartbreak echoes the mournful music of the Earth in Aurélia Lassaque’s hybrid story “Whalesong.” Our protagonist is a prodigious scholar processing a loss so excruciating and traumatic that our narrator frames it via global atrocities and cataclysms. The Earth’s persistent gravity seems absurd, even obscene. Mass extinctions are viewed as unimportant. Through the speaker’s close-third reveries, we witness the massacre of the French Cathars—a gnostic community burned alive by the Church—and meditate upon the world’s cruelty as their ashes are washed away by a seemingly divine rain. Even the sea’s withdrawal evokes a desert’s emptiness. Excerpted from Lassaque’s forthcoming novel, “Whalesong” marries poetry with music, verse with prose—its aural artistry is preserved and accented by Madeleine Campbell’s exquisite translation, which strategically leaves passages in French, Occitan, and Latin to preserve bits of the source language’s sound. Just as our protagonist writes love poems in Occitan (the “language of secrets”), Lassaque’s prose itself reads like verse. A hauntingly beautiful selection by a contemporary troubadour.

She doesn’t know what to pack in her suitcase . . . Toothpaste. A translucent comb with a broken tooth.

When do milk teeth start to grow in? Why this amnesia of our early years? Why don’t our memories reach back to our birth? We are born, and then we step out on a tightrope without a net. We survive infancy. It takes so much effort there’s no room left to remember them. No room either for the future save for the thirst.

What is she to do with all the things they’ve given her? If only she could track the objects passing from nursery to nursery, outgrown in a matter of weeks. Why do people discard them so readily? What would a map of their journey look like?

She has fluoride toothpaste. She thinks it’s silly to deny herself a microwave yet use a toothpaste that causes cancer.

To lose your parents is to become an orphan. To lose your child, what is that? Why is there no word to express it?

*

Outside, it’s pelting down. In the South it rains less than in Paris. The rain is striking. In the tongue of Oc they say it’s raining millstones, raining anvils. A Christian god wouldn’t pelt them with anvils. Mind you . . . He did allow men, women, and children to gather in his temple, be massacred in his temple, even though the stones bleached out, all the blood had dried off centuries ago. That god had let it be known: Kill them all, God will know His own. The river of blood might be flowing still. There may be the odd mistake. A tiny martyr disappears down the river. Does God really welcome all innocents? The god who imposes baptism to save one’s soul, what does he do with the stillborn?

Dehors il pleut à coup de pelles. Plòu a palas.

It’s raining shovels. READ MORE…

“Faithful to the imagination”: A Review of Silvina Ocampo’s Forgotten Journey

February 10, 2020  |  in Reviews  |  by Sarah Moore

Reading her short stories has the effect of seeing an enlarged eye behind a held-up magnifying glass.

Forgotten Journey by Silvina Ocampo, translated from the Spanish by Suzanne Jill Levine and Katie Lateef-Jan, City Lights Books, 2019

Silvina Ocampo (1903-93) was once called “the best-kept secret of Argentine letters.” Luckily for Anglophone readers, however, more of her work is being gradually revealed, most recently with two publications by City Lights Books: The Promise and Forgotten Journey. The Promise is a novella which Ocampo spent twenty-five years completing, whilst Forgotten Journey, translated by Suzanne Jill Levine and Katie Lateef-Jan, is her debut piece of fiction, a collection of twenty-eight short stories originally published in 1937 as Viaje olvidado.

Ocampo may be under-recognized outside of Argentina, but during her lifetime she was part of an elite literary and intellectual circle formed by Jorge Luis Borges. Along with Borges, and her eventual husband Adolfo Bioy Casares, she collaborated on a famous anthology of Fantastic Literature and formed friendships with authors such as Virginia Woolf, Paul Valéry, Lawrence of Arabia, Federico García Lorca, and Gabriela Mistral. She was also a visual artist, having trained in Paris under Fernand Léger and the surrealist painter Giorgio de Chirico.

These surrealist influences are evident in her writing, and there is undoubtedly a fairytale quality to Ocampo’s stories: fairytale in the sense of its truest origins—innocence is flooded with the dark and the ominous, childhood confronts and battles adulthood. Throughout Ocampo’s tales, there is always a moment when death enters, knocking the innocent out. And these stories are dark: a horse is whipped to death, a servant murders the young son of her mistress, a woman’s pet is brutally killed by a jealous lover. The duality of dream and nightmare is always present, similar to writers such as Leonora Carrington, Angela Carter, and Clarice Lispector. In a 1982 interview with Noemí Ulla, Ocampo says that Lispector wanted to meet her in Buenos Aires, and Ocampo was devastated not to have done so before Lispector’s death in 1977. READ MORE…

The Personal Apocalyptic Journey: On Liliana Ursu’s Clay and Star

December 19, 2019  |  in Reviews  |  by MARGENTO

Only long, silent, patient, and focused respites spent really close to things . . . will perhaps spawn such indelible images.

Clay and Star: Selected Poems of Liliana Ursu, translated from the Romanian by Mihaela Moscaliuc, Etruscan Press, 2019

With an impressive record of thirteen collections in Romanian and five collections in English translation, it is no wonder Liliana Ursu has now arrived with a generous (over seventy pages) collection of selected poetry, published by Etruscan Press in Mihaela Moscaliuc’s translation.

It is just that, unlike your usual (American) volume of selected poetry, the book does not divide the poems by their appearance in previous collections, but simply lists their titles in the contents, every now and then mentioning under their last line where and when they were written. Other poems mention the location in the very title—Văratec Monastery in northern Romania, for instance, is both frequently present and representative of the poetics, but Sibiu, Bucharest, Boston, and San Francisco also appear—while others are dedicated, in their epigraphs, to people met in those places. The book thus amounts to a sort of journey that, while capturing fleeting specifics of literal locales in snapshots, is most prevalently a progress of the soul.

The confessional therefore sets the tone, but is at the same time placed in multifaceted perspectives that render the speaker both observant and observed. The title of a poem meaningfully speaks—for instance—of the “poem composed while being watched by a bird.” The multiple angles are accompanied by a functional synaesthesia that brings together the senses and speech alike. READ MORE…

The Grammar of Allegory: A Review of Hebe Uhart’s The Scent of Buenos Aires

November 20, 2019  |  in Reviews  |  by Leah Scott

Uhart’s characters often tread this line between innocence and incredible wisdom.

The Scent of Buenos Aires by Hebe Uhart, translated from the Spanish by Maureen Shaughnessy, Archipelago, 2019

Hebe Uhart’s The Scent of Buenos Aires is a series of musings on the complex makings of place that embodies the spirit of this city, revealing a secret magic woven into the countless lives that buzz at its center. Her stories highlight mundane, quotidian experience—from dinner parties to rides on the subway—but the aura of each piece is tinged with the surreal, the uncanny, emanating a subtle strangeness unique to her characteristic voice.

Prior to her death in 2018, Uhart’s life was defined by her meticulous attention to the world and its inhabitants, a perspective that enriched her interest in literature and philosophy. Her authorial career spanned several novels, Spanish-language short story collections, and literary workshops; she also served as a professor of philosophy at Argentina’s National University of Lomas de Zamora for several years. Uhart’s work has won numerous accolades (including Argentina’s 2015 National Endowment for the Arts Prize) and is defined by its ambiguous narrators, quietly humorous characters who display a certain skepticism about the world and the fickle nature of life. Although her stories reverberate with rich description, intricate details, and lively personalities—often functioning as direct projections of her own lived experiences—plot is never of major importance, the absence of which renders her work somewhat still, devoid of much action or narrative thrust. Instead, Uhart’s concern is that of the particulars, the subtle ways that perception unfurls from a specific point of focus, and though her life was dense with movement and progression, her work invites us to pause and pay attention to how we, ourselves, perceive our surroundings. 

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How to Write About Africa: Everything Lost is Found Again in Review

January 16, 2019  |  in Reviews  |  by Alice Inggs

How should a foreigner write about a place, particularly a place in Africa: the continent of ready stereotypes and tired clichés?

Everything Lost is Found Again: Four Seasons in Lesotho by Will McGrath, Dzanc Books, 2018

To recognize one’s own foreignness in a place that is foreign is difficult. To write it is even harder. In Everything Lost is Found Again, journalist Will McGrath’s Lesotho-set travelogue, he does what is almost antithetical to the travel writing genre and acknowledges his foreignness, resisting the impulse to position himself as the default cultural setting and transfer “otherness” to the country and its citizens. The fact that this book is printed in English and primarily sold in the States means that his audience is also foreign to the place he is writing about, making McGrath’s reversal a considerable achievement.

But let’s begin one step back. How should a foreigner write about a place, particularly a place in Africa: the continent of ready stereotypes and tired clichés? In Binyavanga Wainaina’s satirical 2005 Granta essay, “How to Write About Africa,” the Kenyan author advises: “In your text, treat Africa as if it were one country . . . Don’t get bogged down with precise descriptions . . . Throughout the book, adopt a sotto voice, in conspiracy with the reader, and a sad I-expected-so-much tone . . . Remember, any work you submit in which people look filthy and miserable will be referred to as the ‘real Africa,’ and you want that on your dust jacket . . . Readers will be put off if you don’t mention the light in Africa. And sunsets, the African sunset is a must. It is always big and red. There is always a big sky.”

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My 2018: Barbara Halla

December 26, 2018  |  in Essays  |  by Barbara Halla

It would be a lie to say that I don’t seek stories written by women about what it feels like to live as a woman.

Barbara Halla, Asymptote’s Editor-at-Large for Albania, walks us through her reading list for 2018, a diverse set of novels, short stories, and nonfiction books by women writers. Along the way, she reflects on feminist theory, the beauty of contemplative essays, and the power of collective memoirs.

Anyone who has had the (mis)fortune of following me on Twitter knows I am a dedicated disciple of Elena Ferrante. So, when I found out that Edizioni E/O had published an extended literary analysis of her work, I risked missing my flight by rushing to my favourite Milan bookstore (Rizzoli) to buy a copy.

Tiziana de Rogatis is an Italian professor of Comparative Literature, and her book Elena Ferrante. Parole Chiave (Elena Ferrante. Key Terms, not yet available in English) is exactly the kind of book my nerdy heart needed: an investigation into the literary and philosophical works underpinning Ferrante’s literary creations. I think it’s important to note that a great part of Ferrante’s appeal is in her ability to shore her works into a lived reality, one that does not require an extensive knowledge of Italian history, or feminist theory, to be appreciated fully. In fact, with the slight exception perhaps of her collection of essays and interviews Frantumaglia (translated by Ann Goldstein), you lose absolutely nothing if you go into it with little context. That being said, de Rogatis does a fantastic job at explicitly laying out and connecting Ferrante’s text to the literary foundation upon which they were built, her analysis a sort of Ariadne’s thread helping the reader through the labyrinth of Ferrante’s writing. Ferrante borrows heavily from Greek and Latin mythology, like Euripides’ Medea or Virgil’s The Aeneid. Many of the struggles her women experience and the way they think about those struggles can be mapped directly onto various modern feminist texts, including Gayatri Chakravorty Spivak’s “Can the Subaltern Speak?” and Adrienne Rich’s Of Woman Born. Hopefully Europa Editions will translate this book, too, because it is essential reading if you are even mildly obsessed with Ferrante. I am currently re-reading the series and am amazed at how much de Rogatis’s work enriched my understanding: Elena Greco, for example, uses the word “subaltern” frequently throughout the Quartet.

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The 2018 Man Booker International Prize: And the Winner Is…

May 28, 2018  |  in Essays, News  |  by Barbara Halla

Flights won the Man Booker International because it is a beautiful book, truly “fiction at its finest.”

On May 22, Olga Tokarczuk won the Man Booker International Prize for her book Flights (which first appeared in English in our Winter 2016 issue), translated into English by Jennifer Croft for Fitzcarraldo Editions. Tokarczuk is already a household figure in her native Poland where Flights was first published in 2007. Two of her other novels have been translated by Antonia Lloyd-Jones, but it is only now with Flights that she is becoming a recognizable name for the English-speaking public. While the red Man Booker logo, signifying its triumph, will help it fly off the shelves in bookstores all over the United Kingdom, booksellers still face a tough challenge, for how do you summarize and sell a book like Flights?

Flights is categorized as a novel, although it eschews traditional plot and linear structure. At its most reductive, it can be described as a traveler’s diary through which an unnamed narrator contemplates and explores the roots of her nomadism. What follows is a compilation of fragments collected by the narrator throughout her journeys: short stories about home and travel, meditations on the human body, and even essays on sanitary pads, Wikipedia, and the English language. In the original Polish, the book is titled Bieguni, the name of a nomadic sect of Eastern European origin who believe the only way to escape the devil is by being in constant movement. And indeed, if the narrator of Flights has a life philosophy, it is this: “a thing in motion will always be better than a thing at rest.”

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In Conversation: Boey Kim Cheng on His New Novel, Gull Between Heaven and Earth

December 18, 2017  |  in Interviews  |  by Tiffany Tsao

You could say the entire novel is a work of translation...mediating between languages and cultures, memory and imagination...past and present."

Boey Kim Cheng’s reputation as a critically acclaimed writer rests on his work as a poet and essayist. He has authored five poetry collections—Somewhere-Bound (1989); Another Place (1992); Days of No Name (1996); After the Fire (2006); and Clear Brightness (2012)—the first two of which won Singapore National Book Development Council awards, and the last of which was selected by The Straits Times as one of the best books of 2012. His collection of essays Between Stations (2009) was shortlisted for the Western Australian Premier’s Prize in nonfiction.

This past October saw the publication of his first foray into novel writing. Set during a turbulent period in Tang-Dynasty-era China, Gull Between Heaven and Earth (Epigram Books, 2017) is a fictionalized biographical account of Du Fu, one of China’s most esteemed classical Chinese poets. The end-result of a ten-year-long, meticulously researched labor of love (the early fruits of which appeared in Asymptote’s inaugural issue), Gull represents the first extensive literary treatment of Du Fu’s life, fictional or otherwise, in any language.

In addition to venturing into the territory of prose fiction to complete the project, the Singaporean-born poet also undertook new translations of Du Fu’s poetry, which appear scattered throughout the novel, gem-like and epiphanic. In this interview with Asymptote Australia Editor-at-Large Tiffany Tsao, Boey recounts what compelled him to see this book to completion, as well as the challenges and joys of translating not only Du Fu’s poems, but his character and life.

Tiffany Tsao: On the one hand, your novel Gull Between Heaven and Earth represents a shift for you. Until now, you’ve been a poet and essayist. On the other hand, there’s considerable continuity between your previous works and this one: Gull is about a poet and his poetic calling; it contains poetry as well as themes of travel and nostalgia, which feature prominently in your past work. What prompted you to switch forms for this project? How have you found the experience of writing fiction in prose compared to writing poetry and nonfiction in prose?

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Translation Tuesday: Excerpts from “His Name is David” by Jan Vantoortelboom

February 21, 2017  |  in Translations  |  by Vivien D. Glass

All I want to do is milk the cows and work the land. So why do I need to know the capitals of Europe, or who Napoleon was?

Newly translated into English, Jan Vantoortelboom’s His Name is David, a Dutch-language bestseller, is a tale of forbidden love set in World War I Flanders. Consisting of vignettes, the narrative unfolds as memories of a young Belgian school teacher as he faces a firing squad for desertion. Presented here are just two scenes from the classroom, showing how he tries to transform the minds of his students, “the boys of Year Six.”

‘But sir, why do we have to cram all these things into our heads?’

Roger interrupted my lesson about the capital cities of Europe. His way of constantly questioning everything drove me up the wall sometimes.

‘Neither my father nor mother have ever been further than Ypres or Poperinge, and on Sundays, my mother goes straight home to milk the cows after Mass and my father only ever gets as far as the pub for a pint.’

‘Quite a distance, if he has to crawl home,’ Jef said.

We ignored the remark.

‘Well, Roger. Maybe you will travel further than your parents one day, and see the whole wide world,’ I said.

‘Who, me? Why? Whaffor?’

‘To look at churches and castles in other countries, perhaps. To see how people live there. Or to observe the wildlife.’

I thought of my childhood. Of the books Father brought us. Of the cupboard full of skulls and bones in my room. Of my brother.

‘But I won’t have the cash for that. And anyway, I don’t give a damn about those things.’

Judging by the way his eyebrows twitched, he knew he should be watching his words.

‘Honest, sir. All I want to do is milk the cows and work the land. So why do I need to know the capitals of Europe, or who Napoleon was? And on Sundays, I want to go drinking, like Dad!’

I needed all my creativity to come up with an answer that would have a motivational effect on the obstinate lout.

‘Well, Roger. Imagine that one day, you take over your father’s farm …’

He interrupted me enthusiastically.

‘Oh, I will, sir! Cos luckily, I’m the oldest!’ He laughed, sneering at Jef and Walter, who both had elder brothers.

‘All right,’ I continued. ‘And now imagine you do, as you say, also take over that genial habit of your father’s, namely drinking on Sundays.’

‘Yes, naturally. Sometimes, I’m already allowed…’

‘That’s enough, Roger,’ I cut him short. ‘As you know, however, no one on this planet is immortal. I’m sorry I have to say so, but one day, your parents will die.’

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What’s New in Translation? November 2016

November 7, 2016  |  in New in Translation, News, Reviews  |  by Hanna Heiskanen, Nina Sparling, and Sam Carter

Asymptote reviews some of the best new books from French, Swedish, and German.

cabo-de-gata

Cabo de Gata, by Eugen Ruge, tr. Anthea Bell, Graywolf Press

Review: Sam Carter, Assistant Managing Editor, US

First published in German in 2013—when his In Times of Fading Light appeared in English—Eugen Ruge’s Cabo de Gata, out this month from Graywolf Press, might strike a familiar note for readers who have witnessed a surge in autobiographically-inflected works that frequently take the production of fiction as a subject worthy of novelistic exploration. Hailing from both the Anglophone world and beyond, such novels record the process of their creation or the struggles to even begin them, and Ruge quickly aligns himself with this approach in his tale of a writer’s attempt to get away from it all in the hope of figuring something out. “I made up this story so that I could tell it the way it was,” declares the dedication to this slender volume, and a more precise formulation arrives soon after as the narrator recalls a period in which “I was testing everything that I did or that happened to me at the same moment, or the next moment, or the moment after that, for its suitability as a subject … as I was living my life, I was beginning to describe it for the sake of experiment.”

While in Cabo de Gata, a small town on the Andalusian coast, the narrator quickly settles into routines designed to simultaneously distract him from blank pages and provide him with some inspiration to fill them. The local fishermen, whom the narrator visits on his daily stroll, can empathize with such difficulties: ¡Mucho trabajo, poco pescado! A lot of work for only a little fish—it’s a piscatory philosophy that applies just as well to the writing life. Ruge, however, proves to be an exceptionally gifted angler as he reels in catch after catch in what would seem to be difficult waters, namely a single man’s short trip to this seaside village.

Serving as a metronome marking out the rhythm of memories that constitute the novel, a refrain of “I remember” begins many of the paragraphs that have been expertly rendered by translator Anthea Bell. Far from repetitive or reductive, such a strategy instead seems somehow expansive, particularly when we are reminded that, “fundamentally memory reinvents all memories.” Both the vagaries and the vagueness of memories—“I remember all that only vaguely, however, like a film without a soundtrack,” remarks the narrator in a line that will be hard to forget—serve as the subjects of reflection that find their counterpart in the rhythms of the sea and the surrounding Spanish countryside.

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My 2015

December 29, 2015  |  in Essays  |  by Thomas K. Flynn

For me, being able to chew on something I’ve read throughout my day is as essential as the coffee that gets things moving in the morning.

I’ve been lucky enough to have enjoyed most everything I’ve read this year and a number stick out in my mind (Erpenbeck’s End of Days and Luiselli’s The Story of My Teeth for instance), but the two I’m writing about here occurred one after the other in the past month: Enrique Vila-Matas’ Because She Never Asked and Daniel Sada’s One Out of Two. I wonder, though, if it’s not recency-bias so much as the circumstances under which I read them.

I’ve been working a short term job–which happens to have ended today, which sounds like the intro to one of Vila-Matas’ books, come to think of it–and found myself riding the L on a daily basis for the first time in years. I try to travel without a bag, so having books that fit into an inner pocket of my vest is somewhat key (and inner pockets in one’s jacket: so very, very key). Both these volumes, slim and not overly tall, were ideal travel companions on those grounds and, what’s more, somehow enhanced the physical experience of riding the train, too.

Because She Never Asked is as playful as any of Vila-Matas’ work: stories within stories, diving and looping in and out of one another; narrators less unreliable than slowly unhinging; a prose that skips along at a pace at once jaunty and leisurely. In many ways (and as Michael Orthofer suggested in his review), Because She Never Asked functions as a great entry point to Vila-Matas, but I would also offer that this work is perfectly suited for a short trip on public transit. The story moves along, sure, which is something of a key component to anything read in a public space, but it also possesses a light density: that is, one can dip in and out without feeling like anything has been lost, but at some point, some aspect of the story will go off in one’s head, motivating a return to story, a desire to dive back in and parse it further. For me, being able to chew on something I’ve read throughout my day is as essential as the coffee that gets things moving in the morning. READ MORE…