View through Olafur Eliasson’s 2001 work Viewing Machine at Kistefos Museum, Norway, 2009. When considering time travel, one thinks more often of the metaphysics involved in altering one’s own present condition than, for example, the terrors or joys of inadvertent incestuous sex. But these two concerns can be contorted into one, as if entwined in […]
A chess scorecard marked with stamps and annotations by Marcel Duchamp, 1919. Americans tend not to get the pleasures of European fiction. If we’re going to read translated literature, we want it Big or Important—Proust, Eco, Sebald, Bolaño—and as for domestic product, blockbuster-driven publishers often seem to prefer flawed big books to flawless little ones. […]
Adam Gilders Some narrators speak certainly, and others shyly stammer, revealing their stories with reluctance and unease. Think of Moby-Dick, which begins, “Call me Ishmael,” and then consider John Barth’s The End of the Road (1958), which opens on a more jittery note: “In a sense, I am Jacob Horner.” Horner’s nervous squirming came to […]
In his debut novel, The Art of Fielding, n+1 cofounder Chad Harbach explores baseball as an art that communicates “something true or even crucial about The Human Condition.” Following the career of Henry Skrimshander, a preternaturally gifted college shortstop who falls victim to Steve Sax syndrome (a sudden inability to make relatively simple throws), Harbach unfolds a sequence of stories surrounding the team. We meet Mike Schwartz, the burly captain facing the prospect of life beyond college; Guert Affenlight, the charismatic college president who questions his sexuality as his fascination with Henry’s team- and roommate, Owen Dunne, deepens; and Guert’s
Peter Gizzi Peter Gizzi’s poems have always walked a line between stylized opacity and friendly, if melancholy, accessibility, enacting an argument about whether language is esoteric or generic, personal or public, our salvation from commerce or hopelessly commodified. This argument is at the heart of much contemporary poetry, but for Gizzi it also represents an […]
Pity; they used to be such nice girls. Leah Hanwell and Keisha Blake grew up together in a grim housing estate in North West London. They acquired university degrees, good jobs, political convictions, pretty husbands. And they’re miserable. Now in their mid-thirties, they’re pickling in bile and coming apart. Leah has become fixated on a local woman who bilked her out of thirty pounds. She’s secretly taking birth-control pills, scuttling her husband’s plans to start a family. Keisha, who’s gotten posh and changed her name to Natalie, is spending a bit too much time on a website catering to people
When Witold Gombrowicz departed Poland on the liner Chrobry in 1939, he was a minor literary figure unknown beyond his native country, the author of a collection of short stories, a play that virtually no one reviewed, and the novel Ferdydurke, his absurdist provocation that offered him a toehold among the more progressive critics and intellectuals in Warsaw. That July, Gombrowicz set sail for Argentina on the maiden voyage of the newly christened Chrobry as part of a cultural tour for the Polish government. The ship reached Buenos Aires a month later, just as the Molotov-Ribbentrop Pact between the Soviet
Robert Sheckley wrote tightly crafted, whacked-out social satire in the form of science-fiction stories, using the conceit of future worlds to provide an alienating vantage point on the present. His heyday was the 1950s, when he emerged as a young writer in the pages of thumb-staining pulp mags like Galaxy, Astounding, and Infinity. Sheckley was part of a generation that disassembled the square-jawed tropes of 1920s space operas to produce a new, proto-postmodernist mode of literature, hidden within a genre that many readers at the time dismissed as kiddie lit. Unlike the more mainstream-friendly sentimentalism of Ray Bradbury, or the
“Listen, I’d rather not talk today. I want to go watch old tennis players be displaced by young tennis players and the crowd weep as they retire and then start cheering for the new cocky-bastard upstarts who have sent them to pasture. This I want to do today, and nothing else. I want a cool soda water in my hand and a hat on my head and to not be overweight myself watching the elderly depart. I can from this position think gently of my own death.”
Donald Antrim once described the books he spent the 1990s writing as a “more or less related series of novels [that] concern themselves with aspects of American life—small town politics; fraternity and patriarchy; psychoanalysis and sex.” The first novel, Elect Mr. Robinson for a Better World (1993), is narrated by a former third-grade teacher in a small seaside Florida town who entertains Walter Mitty–ish fantasies of becoming mayor while his wife becomes involved with a local cult and the neighbors lay mines, moats, and tiger pits in their finely manicured lawns. (The mayoralty is open because the previous mayor has
“One good thing about being a woman is we haven’t too many examples yet of what a genius looks like,” Sheila Heti’s protagonist, also named Sheila, deadpans. “It could be me.” With some shame in her ambitious conviction, Heti believes her own genius might lie in the transcription of the everyday—that the particulars of her life as a young woman artist can show us what’s human. Recorded dialogue, e-mails, and brutally self-effacing passages fill short chapters of this “novel from life,” united in an uninhibited first-person performance: Her tone can be earnest and eager to please, flippant and crass, terribly
Lillian Hellman was once a star. She was one of the most successful playwrights of her time, with her first produced work, The Children’s Hour, running for two years on Broadway. As a screenwriter in the 1930s, she earned the top rate of $2,500 a week to write two films of her choice per year. The three volumes of her memoirs—An Unfinished Woman (1969), Pentimento (1973), and Scoundrel Time (1976)—were best sellers.
Cathy Park Hong’s poetry can be dark, depressing, grimly prophetic, and fun—often all at once. In Engine Empire, her third book, she examines how governments and companies use information to control people by throwing her voice in all sorts of surprising directions, assuming the personae of very odd, alliteratively bent characters from a fictional past and an imagined (yet possible) future whose experiences warn us about the realities of the present.
Parataxis is Édouard Levé’s best friend. Parataxis—also John Ashbery’s best friend—concerns the placement, side by side, of two sentences whose meanings don’t transparently connect. Parataxis, however, as concept, has leached its glories onto the landscape at large; any reader of contemporary culture is contaminated by paratactic energies, a stylistic phenomenon that Levé defends in his penultimate book, a work of unrepentantly naked yet stylistically errant autobiography, Autoportrait. He writes: “Raymond Poulidor is one of the least sexy names I know. I like salad mainly for the crunch and the vinaigrette.”
Joe Brainard achieved a singular position in the poetry world before his death from AIDS-induced pneumonia in 1994. An artist identified with a rarefied strain of Pop art, he was also a poet affiliated with the so-called New York School, a loose collection of wry Francophiles who could be readily described in the mid-’60s as avant-garde without anyone wincing at the designation. Ensconced in the circumscribed world of highbrow, camp-inflected culture, Brainard penned I Remember—a litany of self-regard whose formal rigor sharpens the kind of intimacies that invite readers to feel like coconspirators. The multibook work escaped New York’s narrow
With swift dispatch, fiction about the Arab Spring is starting to appear. Earlier this year in France, Tahar Ben Jelloun published Par le feu (By fire), a novella about Mohamed Bouazizi, the Tunisian vegetable vendor whose self-immolation last February ignited the series of popular protests across the Middle East and the Maghreb. In the last scene of the book, a film producer tries to buy the “life rights” to Bouazizi’s story from his family. “Don’t talk to anybody, don’t give any interviews to journalists,” he tells them. “I’ll help you. I’ll tell the story of Mohamed—everyone in the whole world
Ariana Reines, now thirty, has a curriculum vitae that could make her look like a star of academia. She graduated summa cum laude from Barnard and then studied with the most rarefied, radical philosophers and literary theorists at Columbia and at the European Graduate School in Switzerland. She has translated two books from the French for Semiotext(e), as well as Baudelaire’s My Heart Laid Bare for her own tiny Mal-O-Mar press. She was the 2009 Roberta C. Holloway Lecturer in Poetry (the youngest ever) at UC Berkeley. Her first book of poems was The Cow (2006), followed by the two
Looming in the background of Hari Kunzru’s novel Gods Without Men are the Pinnacle Rocks, presumably modeled on California’s Trona Pinnacles, stone formations climbing from the bed of a dry lake in Death Valley and familiar to both hikers and couch potatoes (the spires regularly appear in television programs and car commercials). From its encampment near the site, Gods Without Men sweeps back and forth through time—from the deliberately anachronistic “time when the animals were men” to the present day, coming to rest at several points in the eighteenth, nineteenth, and twentieth centuries.
From Lysistrata to Don Quixote to Catch-22, literary comedy works best when a black heart beats beneath the hilarity. The comedic impulse is always transgressive, always an alternate avenue to the two tragic truths at the center of our existence: suffering and death. Levity must be rooted in tragedy because life, as Schopenhauer insisted, is essentially and irredeemably tragic, “something that should not have been.” The clown is usually the saddest guy at the circus; we guffaw at the expense of his anguish.
In his debut novel, Never Mind, published in 1992, the English writer Edward St. Aubyn pokes fun at one of his creations, a distinguished philosopher modeled loosely on A. J. Ayer: “Just as a novelist may sometimes wonder why he invents characters who do not exist and makes them do things which do not matter, so a philosopher may wonder why he invents cases that cannot occur in order to determine what must be the case.” The slight tone of meta-ness struck here is misleading; there is virtually nothing in Never Mind—or in the four other highly entertaining and often
