May 14, 2013
During last year’s epic adventure to read a book from every country in the world, there were a number of pinch-me moments. Sitting in CNN’s London studios waiting to do an interview that would be broadcast around the planet was one. Receiving a flood of messages from Portuguese speakers and translators volunteering their time and talents to enable me to read a book from Sao Tome & Principe was another. And I’ll never forget the evening I got home to find a package of postcards from Honduran writer Guillermo Yuscarán, or the extraordinary afternoon I spent with Jens Nielsen, the former partner of Swiss author Aglaja Veteranyi, after I wrote about her book.
Today brings another hard-to-believe moment and it has to do with that building pictured above. For years, travelling into London every Sunday morning for my weekly singing job – the only regular income I had when I started out as a freelance writer – I would pass the offices of Random House on Vauxhall Bridge Road and stare up at the windows wondering what it would be like to be an author with a book deal there. It seemed another world.
This morning, I am going into that building for my first session with my editors Michal Shavit and Gemma Wain at Harvill Secker on the manuscript of my book, Reading the World: Postcards from my Bookshelf, the story of last year’s quest. There will be a lot of work to do and I’m daunted, as well as intrigued, to hear what Michal and Gemma made of the first draft. But mostly, as I wriggle into my coat and head off down the hill to catch the bus that will take me down that familiar road once more, I’ll be excited.
Thanks again to all of you for helping me get to this point. Wish me luck!
Picture by chrisjohnbeckett
March 21, 2013
I didn’t expect to be doing this. I thought when I finished my last post on 31 December 2012, that would be it – I would close the door on A Year of Reading the World and venture off to pastures new.
Then a few things happened. Firstly, after I finished the adventure, nearly 1,500 more of you signed up to follow the blog and it seemed a shame not to say ‘hello’ – hi, great to have your company.
And secondly, UK writer Rebecca Wait, whose novel The View on the Way Down comes out next month (preorder it now why dontcha?), invited me to take part in ‘My Next Big Thing’. It’s an internet meme apparently (sounds very grand), which is passed from writer to writer allowing each to talk about his or her next project.
The idea is that I answer the questions and then tag three more writers to do the same on their sites at the end. It struck me that this might be a nice way to connect you with three of the writers whose work I enjoyed reading last year, so that’s what I’m going to do.
Bear with me.
What is the title of your next book?
The title of my next (and first) book is Reading the World: Postcards from my Bookshelf.
The title of my next blog, which you can get your hands on much sooner, is If Women Ruled (hence the picture at the top). I’d love it if you’d join me for that adventure – any ideas much appreciated!
Where did the idea for the book come from?
About four months into A Year of Reading the World, I wrote an article about the project for the Guardian newspaper (I was working there at the time so I managed to collar the literary editor and convince her to let me do it). Interest started to pick up off the back of that and I began to wonder if the story of the project and the stories behind the stories that I read might make a book.
Then a friend, writer Rosie Fiore (her latest novel Wonder Women came out on ebook last week), introduced me to my now-agent, Caroline Hardman at Hardman & Swainson. Caroline thought the project would make a book too, so we put together some sample chapters and a proposal, and Reading the World was born.
What genre does your book fall under?
Technically speaking, it’s a narrative non-fiction blook (a blog that’s turned into a book). It’s part memoir and part literary criticism.
What actors would you choose to play the part of your characters in a movie rendition?
Gosh. Well, in my daydreams Kate Winslet would play me, but in reality – particularly when the going gets tough – Woody Allen is probably nearer the mark.
What is the one-sentence synopsis of your book?
The story of my quest to read a book from every country in the world in 2012.
Will your book be self-published or represented by an agency?
It’s being published by UK publisher Harvill Secker (part of Random House) thanks to my agent Caroline Hardman.
How long did it take you to write the first draft of the manuscript?
About three months.
What other books of the same genre would you compare yours with?
Tricky. I’d like to think it’s a bit Bill Brysony and others have compared the style to Elif Batuman and Anne Fadiman.
Who or what inspired you to write this book?
I was very lucky to have a publishing deal and a deadline – wonderful for focusing the mind!
What else about your book might pique the reader’s interest?
It contains an account of my extraordinary meeting with the ex-lover of my Swiss author, Aglaja Veteranyi, and the story of how Honduran writer Guillermo Yuscarán (formerly William Lewis) got his name.
When and how will it be published?
Reading the World: Postcards from my Bookshelf will be published by Harvill Secker in 2014.
And here are my tags for three of the writers whose work I read last year:
Giovanna Rivero is a Bolivian writer. She has published numerous books in Spanish and took part in the University of Iowa’s International Writing Program in 2004. I was lucky to be introduced to her work by leading Bolivian writer Edmundo Paz Soldán and read her 2006 short story collection Sangre dulce/Sweet Blood for A Year of Reading the World. She’ll be talking about her Next Big Thing on her blog.
Ak Welsapar is a Turkmen poet, journalist and novelist. He represented Turkmenistan in London’s Poetry Parnassus event in 2012. He writes in Russian, Turkmen and Swedish and his novel Cobra is due out in English soon. I was delighted to be able to read an unpublished manuscript of a translation of one of his other novels, The Tale of Aypi, which he emailed to me.
Danderma is a prolific Kuwaiti blogger and novelist. She has drawn considerable attention in the region for her self-published series, The Chronicles of Dathra: A Dowdy Girl from Kuwait. The books are written in a mixture of English and Arabish – a way to chat online using English letters and numbers with Arabic spelling – and Danderma was kind enough to send me the first volumes so that I could tuck into one for A Year of Reading the World.
December 14, 2012
Sometimes when you’re trying to read a book by a writer from every country in the world, you have to travel in time as well as space. While there may not be any translated literature from that nation available in print at the time you’re looking, if you dig back into the past you can occasionally get your hands on an edition of a translation published decades ago that will take you into an imaginary universe from which you would otherwise be shut out. These out-of-print books are like portals, opening and closing at will: not everyone can get to them, they pop up in surprising settings and you’ll rarely find one in the same place twice.
My Paraguayan pick was one of these books. As far as I can find out, there is little other than Helen Lane’s 1986 translation of Augustos Roa Bastos’s I The Supreme out there for us English-language readers (do tell me if you know differently). Luckily, I was able to get hold of a faded 1988 edition listed by an independent bookseller on Abe Books (there are a few others on there at the moment, but they may disappear at any time).
The 1974 novel, which saw Bastos permanently exiled from his homeland, is a fictional rendering of the recollections, pronouncements and paranoid fantasies of the early 19th century Paraguayan dictator Dr José Gaspar Rodríguez de Francia (who dubbed himself El Supremo). Constructed by an anonymous compiler from a mountain of charred dossiers, pamphlets, correspondence and other documents salvaged from a fire at the time of the ruler’s death, the narrative presents a mind turning in on itself as the tyrant confronts his own mortality.
From the first page – which displays a lampoon in the voice of El Supremo found nailed to the cathedral doors in the capital – the text babbles with questions about identity, authority and authorship. The novel is shot through with footnotes and extracts from other works that contradict the primary account, as well as revisions from the tyrant as he creates his own account of the founding of the Perpetual Dictatorship. As El Supremo’s shadowy scribe puts it, in this world of reconfigurations, suppressed voices and fabrications, ‘even the truth appears to be a lie’.
For all the slipperiness of the narrative, however, the character of El Supremo looms large, riddled with the conflicts, eccentricities and the lack of empathy that comes from years of being cut off from normal human interaction. Bastos’s portrait of the ruler’s paranoia, who sees himself surrounded by people with ‘a bad case of the itch to be kings’, is brilliant and points up the psychology behind the grotesque and brutal punishments he metes out as casually as he orders his food – the cells blocked up to admit no light, the traitors left sitting in the sun, the man forced to row until he dies. These are offset by El Supremo’s delusions about his own benevolence, reflected in outbursts of irrational generosity – as in the case of the meticulous list of toys he orders to be distributed to children at Epiphany.
Bastos’s greatest achievement, however, is that, while revealing the monstrous actions and self-deception of the tyrant, he brings out his humanity too. This comes through in the lonely, sober tone of many of the entries in El Supremo’s private notebook, as well as through glimpses of the ruler as a frail old man playing dice in his slippers and contemplating the impending loss of his faculties. It also lives in his flashes of insight into his situation and his wistful daydreams about how if he had met a woman and had a family he might have enjoyed a peaceful, quiet old age, rather than sitting in fear and isolation, thinking about crowds burning his effigy and listening to ‘the sounds of a sick mind clattering along’.
For all its brilliance, however, the novel does come with a health warning: its dense, heavy style will be too rich for some appetites. The concentration wanders in its maze of associations and you sometimes have to retrace your steps to pick up the thread again. Although Bernard Levin might have read it twice in a weekend – as he writes breezily on the back cover – the book will take most people much longer to get through (I had to allow four days).
If you stick with it, however, the rewards are great. The I the Supreme is many things: a portrayal of the nightmare of being able to trust no-one but yourself; a portrait of a mind hemmed in; and a reminder of how easily we might be other than we are. Extraordinary.
I the Supreme (Yo el Supremo) by Augusto Roa Bastos, translated from the Spanish by Helen R Lane (Faber & Faber, 1988)
December 12, 2012
If there were a hall of fame for hardest countries in the world to find literature from in English, Mauritania would be up there with the best of them. The short answer is that there are no commercially published translations of books penned by writers from the country in either Arabic, French, Hassaniya Arabic, Pulaar, Soninke or Wolof – the six most commonly spoken languages in the nation.
As Manuel Bengoéchéa of the Institut français de Mauritanie explained to me, this is partly because Mauritanian novels and other similar works don’t exist in great numbers in the first place. With so many linguistic communities in one place and a strong oral tradition, it is hard to justify putting resources into publishing works that will only be accessible to a fraction of the population. As a result, stories are more often spoken than written in the country.
Nevertheless, there are some published and celebrated Mauritanian novels out there – and several people went to great lengths to try to help me find one that I could read in English. Of these, International Prize for Arabic Fiction administrator Fleur Montanaro deserves a particular mention. Having lived in the country for seven years, she put a huge amount of energy into searching for a title – even scouring a book fair in the UAE for possible leads for getting a novella, L’amour impossible by leading writer Moussa Ould Ebnou, translated specially for the project.
And then, in one of those flukes of googling, where a brief portal seems to open up to the one page on the world’s more than 620 million websites that you need, I chanced upon an article about Mohamed Bouya Ould Bamba. While studying his PhD at Kent State University in the US, the Mauritanian Fulbright scholar has vowed to write, self-publish and make available for free download one novel each summer. His first book, Angels of Mauritania and the Curse of the Language, came out in 2011. A quick search on the title took me to a download site. I clicked on the text and, just like that, Mauritania was solved.
Taking place over four days, Bamba’s novel unfolds a crisis in a nameless family in the Mauritanian capital Nouakchott. Having not been paid by his employer for many weeks, the father finds himself struggling to feed his pregnant wife and two daughters. His wife wants to solve the problem by appealing to her rich cousin, but the father has more extreme ideas and, as protests against political corruption flare in the streets, it looks as though the family unit may not survive this latest in a long line of setbacks.
As the title and bombastic prologue – written in the voice of the land of Mauritania – suggest, this is a book with big ambitions. With his anonymous, Everyman characters and lengthy dedication, Bamba seems to feel the need to speak for his entire nation – an understandable aim when you consider that this is in all likelihood the first book by a Mauritanian writer that English-language readers can access.
Coming after such grand beginnings, the domestic setting feels a little cramped at first. Bamba tries to show the link between national and personal events in the narrative, but there is still something of a disconnect, particularly when it comes to the title issue of ‘the curse of the language’ (the numerous people who have lost their native languages in the region), which features heavily in the prologue but barely gets a look in in the main text.
However, as the pages turn, the dramas in the lives of the characters grow to fill the space, providing many fascinating insights into daily life in the Mauritanian capital. While some elements, such as the delight of the male neighbours at the election of Obama over Bush, are disarmingly familiar, others are startlingly strange. For example, the custom of men being able to divorce their wives with a single word is extraordinary, while the wife’s belief that ‘freedoms were an American thing’ provides a fascinating insight into the differences in outlook that fill the novel. In addition, small details, such as the Turkish soap opera that threads through the narrative and the cousin’s daughter’s secret tryst with her boyfriend, bring Bamba’s spare prose to life.
The text contains the typos and slips common in self-published works. On top of this, while Bamba’s English is largely excellent, there are one or two linguistic tics and slight misuses of words that cloud the meaning. Pacing is also an issue: scenes move step by step, lacking the agility and dexterity found in the prose of more experienced writers.
Through it all, however, Bamba’s passion for his country and for telling the world about it shines through. The narrative may be threadbare at points, but its author’s ambition for change and a better life for many of the people in Nouakchott – where wealth and poverty have created a divide more impassable than any country boundary – is admirable. A rare insight into this most mysterious and overlooked of West African nations.
Angels of Mauritania and the Curse of the Language by Mohamed Bouya Bamba (2011)
November 29, 2012
My knowledge of Chinese literature is pretty non-existent, so I was very grateful when translator Nicky Harman offered to talk me through some of the options last month. We met in a coffee shop in Covent Garden, where, sandwiched between groups of students and tourists planning expeditions to Oxford Street, Harman shared some of her insights into books from the world’s most populous country, which is home to a fifth of the planet’s people.
She said that, while a wide range of literature was published in China, a very narrow spectrum of works were available in English. These tended to be rather depressing, violent and, as she put it, ‘masculine’ books, which often made for heavy-going reading. She hoped that Mo Yan winning the Nobel Prize for Literature this year would start to change this by increasing the appetite for publishing a greater variety of Chinese books around the world.
In the meantime, however, Harman did have some tips for me. If I didn’t mind hard-hitting books, Mian Mian’s Candy was a good bet, while Mo Yan’s short story collection Shifu, You’ll Do Anything for a Laugh rung the changes, being both comic and tragic. In addition, Yan Ge (not to be confused with Yan Geling), a young, witty, female writer who Harman said was like a modern Jane Austen, was one to watch. Her work was not translated yet, but would hopefully be available in English soon. The same was true of Xu Zechen, whose short story ‘Throwing Out the Baby’ had been published on Words Without Borders. In terms of non-fiction, the work of Xue Xinran was well worth looking out for.
In amongst Harman’s recommendations, however, one title stood out: Han Dong’s Banished!. Perhaps this wasn’t surprising, given that Harman had translated the novel herself; nevertheless I couldn’t help being intrigued by her description of the book, which, by the sound of it, provided an unusual – even quirky – perspective on the events of Mao Zedong’s Cultural Revolution. My interest was also piqued by the translator’s comment that the structure of the book, which reads like a memoir, with each chapter devoted to a different character in the village, reflected a popular tradition in Chinese fiction. I decided it would be the book for me.
Drawing on Han’s personal history, the novel portrays the banishment of the Tao family from the city of Nanjing to the village of Sanyu during the late 1960s. Required to ‘learn from the poorer and lower middle peasants’ as part of Mao Zedong’s attempt to erase capitalism and culture from the country, Grandma and Grandpa Tao, writer Tao and his wife Su Qun, and their son, young Tao, must make new lives for themselves. But, while they try to do the best they can with the meagre resources available to them, they must also take care not to do too well and arouse the jealousy of their impoverished and poorly educated neighbours: as objects of suspicion because of Tao’s intellectual past, their best hope lies in striking root and blending in with their drab, new surroundings.
Sinister undercurrents flow through the novel, bubbling to the surface now and then to flood the characters’ lives. From the bleak prospects Tao foresees for his young son and his fear that his wages might be stopped by the Party, to the investigation that makes Su Qun contemplate suicide and young Tao’s memory of the ransacked buildings he saw in Nanjing, there is an underlying sense of the threat hidden in the smallest and most apparently innocuous of decisions.
Most striking of all, however, is not the precariousness of the Tao’s situation, but its strangeness. Little details, such as the ‘good-news troupe’ marshalled to cheer the banished families on their way and the era’s unfamiliar jargon, reveal the profound oddness of the time, as does six-year-old Tao’s misplaced excitement at the initial hurly-burly of the Revolution and his proud boast that ‘our family’s got a bad egg too, and he’s been struggled against’. Indeed, as the anonymous narrator reminds us, the period is in many ways every bit as strange to contemporary Chinese readers as it is to Westerners:
‘I can only sincerely apologize to my young readers or those from another world. The world I describe here was, after all, a peculiar and transitory one, constructed of language that enshrouded and permeated it with what Buddhists call anitya, a mysterious impermanence.’
In the face of such ephemerality, the Taos ground themselves in the rituals of their new lives, devising strategies for survival. These often involve negotiating their way round the alien traditions of their neighbours – from finding a way to decline a proposal to involve young Tao in a childhood betrothal, to trying to outwit the hungry villagers who want to kidnap and eat their pet dogs. However, there are also moments of joy as we share in young Tao’s adventures in his rural surroundings and the family members’ satisfaction at being able to improve their living conditions through their ingenuity. Indeed, the little domestic triumphs of excluding draughts, drawing water and making adequate sanitary arrangements are so engrossing that we are a long way into the narrative before we realise quite what ‘Mr Tao Peiyi, the professional writer’, now ‘forbidden to write his own books’, has lost in the move to this remote region.
The result is a moving consideration of storytelling and the power of human beings to take charge of their identities in even the bleakest of circumstances. Through watching the Taos carve out a life that allows them to retain something of their sense of dignity and purpose in the face of an attempt to erase individuality, distinctiveness and creativity, we see the marvellous resilience of the human mind. Surprising, and rather wonderful.
Banished! by Han Dong, translated from the Mandarin by Nicky Harman (University of Hawaii Press, 2009)
There is just one day left until the Rest of the World poll closes. Vote now to choose which book I should read!
November 26, 2012
From very early on in the year, this country of around 21,000 people spread over 250 islands, 500 miles east of the Philippines distinguished itself as the most difficult Pacific island nation to find books from. Every other literary globetrotter I’ve heard of has struggled to find a Palauan story, with many people resorting to anthropological works and histories by Western academics in the absence of anything by writers from the place.
My own experience bore this out. While I was able to find people to contact for recommendations from all the other Pacific nations – no matter how tricky the books ended up being to track down – it was difficult to know where to start with Palau. The few emails I fired off to people in the country disappeared into the ether without a trace. And any experts on the region I contacted simply said Palau would be difficult and left it at that. Things were starting to get desperate.
And then my resourceful colleague – who, by the way, I’m beginning to suspect is some kind of secret agent, so uncanny is his ability to find leads in the remotest of places – sent me a link to a Palauan writers Yahoo group. Judging by the absence of recent activity on the site, it might well have turned out to be another dead-end. However, there was an email address for the list owner. And so, not holding out much hope, I sent a message to it.
After about a week, a detailed email came back from Susan Kloulechad, a Canadian citizen who is married to a Palauan, with whom she has three children, and has lived in the country for nearly 20 years. She suggested several organisations and people to contact on the islands before mentioning that she had a couple of unpublished manuscripts of her own. One in particular, Spirits’ Tides, caught my interest. And so, judging that Kloulechad’s long association with the nation qualified her work to be considered as Palauan, I asked her if she would let me read it.
Moving back and forth between New York and the imaginary archipelago of Lekes, which Kloulechad says is a fictional version of Palau (the name is taken from a place in her husband’s village), the novel tells the fraught love story of Jonathan C Durston Jr and Micronesian girl Rur. Worlds apart in terms of their lifestyles and experiences, the two are really spirit companions who were separated when they entered time and were born at opposite ends of the Earth. They meet again when multi-millionaire tycoon Jonathan crashes his plane in the sea by one of Lekes’ deserted islands and Rur helps save his life. An attraction develops quickly between the pair, but, with so much separating them, a relationship between these star-crossed lovers seems impossible.
Jonathan’s crash-landing in the heart of Lekes provides Kloulechad with a great opportunity to reveal Micronesian culture to the reader. With Rur as a guide, we learn about everything from how to catch a coconut crab to the region’s strong family values and wedding rituals, as well as some of its folk tales. I was particularly pleased to come across the story of the race between the fish and the wily crab, which I read first in Marshall Islands Legends and Stories and now feels like an old friend.
The author balances this with a great evocation of New York City in winter, as seen through Rur’s eyes. Reading it made me deeply nostalgic for strolling through Central Park in the snow and my fingers itched to get online and book a flight – testament to how well Kloulechad captures the place.
There are some good touches of humour in the narrative too. Moments such as Rur’s mischievous pretence that her ability to start fires derives from island magic, rather than the lighter in her back pocket, and her fabrication of a story about the extent of Jonathan’s injuries to help them get a flight more quickly bring the novel alive.
On the downside, the balance slips during some of the debates between Jonathan and Rur so that the book often feels more like a two-dimensional manifesto for ‘the value of a simple life’ in Micronesia than the dramatisation of the meeting of two worlds. At times Rur seems to be hectoring not only Jonathan, but also the Westerner the author seems to envisage reading the book.
In addition, there are problems with the plot: the pact between scheming girlfriend Caroline and Jonathan’s father to entrap the hero in an engagement stretches credibility, while Jonathan’s forging ahead with plans for a marriage he doesn’t want and his reluctance to discover the identity of the employees embezzling funds from his company feel more like a decisions required by Kloulechad to keep the tension going rather than choices the protagonist would make. I was also uncomfortable with the use of Caroline’s desire to work once she’d had children as a way of vilifying her.
Nevertheless, as a light, romantic novel the book has potential. The raw subject matter is rich and Kloulechad’s skill in evoking places makes for some lovely moments. With a bit of structural underpinning and some fine tuning of motivations, it could be a very enjoyable read. And if it finds a publisher, it will also – as far as I can find out – be the first Palauan novel to make it into print. Now that’s something I’d love to see.
Spirits’ Tides by Susan Kloulechad
The Rest of the World vote closes on Friday 30 November at 23.59 (UK time). Make sure you have your say!
November 6, 2012
There’s nothing like getting an enthusiastic recommendation from somebody who loves a particular book. So when Rach stopped by the blog to tell me that I had to read Illustrado by Miguel Syjuco, describing it as ‘a wonderful (funny) exploration of the country, its history, politics and people’, I made a point of looking it up.
Rach wasn’t alone in her appreciation of the novel. It won the Man Asian Literary Prize in 2008 and was one of the New York Times’s 100 Notable Books of 2010. Clearly a lot of people around the world rated it.
The novel follows Miguel Syjuco (yes, you read that right) as he attempts to get to the bottom of the death of his mentor, famous New York-based Filipino writer Crispin Salvador. Told through extracts from Salvador’s work and his protegé’s biography of him, interviews with the writer, meetings with his relatives, blog posts and comments in web chat rooms, a series of jokes about Filipinos in the West, and a first- and third-person narrative that charts Syjuco’s return to the Philippines in search of clues, the book traces and tangles the threads of Salvador and Syjuco’s histories. And, as the search for answers and identity becomes ever more fraught, it finds an echo in the public life of the nation, where a sleaze scandal, a rebellion and an impending typhoon look set to the shake the country to its core.
This is a novel about the search for authenticity – and one that plays this search out on every level. While Syjuco begins the novel ‘unconvinced’ by the accounts he has read and sets himself the task of sifting through the stories to get to the truth of Salvador’s life and death, readers must contend with the multitude of conflicting voices and sources in the book, as well as the protagonist’s self-confessed tendency to embroider the truth by, for example, fabricating a conversation with his neighbour on the plane home. In addition, the trustworthiness of love comes under scrutiny through the prism of Syjuco’s failed relationship with girlfriend Madison – a pairing based on embracing a series of ill-researched, international good causes and a vague Western guilt quite alien to their Filipino roots.
The result is an impressive and complex array of investigations into truth that can often spill over into the world outside the book. In fact, Salvador, whose work comes complete with footnotes in the novel, is such a convincing creation that for a while some readers even believed he existed in real life.
However, it is when it comes to writing that the questions about authenticity become most intense. Throughout the novel, a debate rages about what it means to be a Filipino author: there is the indignant Manila-based writer who maintains that writing in English is ‘heinous’ (more than a slight irony in this book which won the Grand Prize for the Novel in English at the 2008 Palanca Awards), while Salvador himself is on record advocating for dispensing with country boundaries altogether and aiming to be ‘an international writer’ because ‘your real home country will be that common ground your work plows between you and your reader’.
Yet nationality and cultural authenticity aren’t the only hot potatoes when it comes to writing in the novel. As the title of Salvador’s lost exposé, The Bridges Ablaze, suggests, the simple act of putting words on the page can itself be a violent, destructive thing. Throughout the book, storytelling causes rifts and feuds as people feel betrayed by the truths they are forced to confront. This touches on everything from the ridiculous insistence of Grapes and Granma that all their relatives’ work – no matter how remote from their lives – is about them, through to revelations that divide the nation. To write, then, requires fearlessness and even ruthlessness, as Syjuco finds himself reading, and perhaps also writing, in a dream:
‘Whatever they may say, your story is truly your own. You have a responsibility to it, the way a father has to a child. Damn your detractors, your hurt-faced family. They can’t take it away from you.’
The greatest irony is, of course, that the book’s interrogation of storytelling takes place through the medium of some truly outstanding writing. Funny, dexterous and seemingly effortless, Syjuco’s prose (the author… or are protagonist and author one and the same?) is a joy. Reading it is like skimming over deep waters in a speed boat with an expert pilot at the helm. If there are one or two too many daredevil manoeuvres here and there, the thrill of the overall experience more than makes up for it. Top notch.
Ilustrado by Miguel Syjuco (Picador, 2010)
November 5, 2012
Guernica Press may not have been able to help with my Latvian query in time for the end of the year, but it came up trumps for Slovenia. As Mike explained when I emailed to ask about Nora Ikstena’s work, the company was just in the process of publishing a novel by Slovene author Luka Novak. It was called The Golden Shower or What Men Want – would I be interested in seeing a copy?
Not only was the title intriguing (if a little disconcerting), but Luka Novak sounded like quite a character in his own right. The co-host of a popular Slovenian TV cookery show and programme director of the Slovenian Book Fair, he ran a publishing house for 20 years, as well as launching what is apparently Eastern Europe’s first ever concept store. He also ran for Mayor of Ljubljana in 2006, speaks six languages, and has translated 20 books, including Julian Barnes’s Flaubert’s Parrot, into Slovenian.
Phew. I had to see what this one-man cultural extravaganza’s novel was like.
The book starts when a middle-aged psychiatrist and his younger actress girlfriend arrive in Provence, France, for a holiday, which he intends to spend writing a book of cultural essays. It’s not long, however, before their plans start to go awry and the couple, along with Orada, the doctor’s Bosnian masseuse neighbour back in Ljubljana, and a German mythology professor, find themselves caught up in a covert cultural, religious and political movement that aims to take over and remake the world in its own image.
Novak is great at making his characters reveal their inconsistencies through their actions and the stories they tell about themselves. From the brilliant portrait of procrastination in the early chapters, where the psychiatrist is always on the point of sitting down to write his essays but finds himself forced to seek refuge in glass after glass of rosé, to the constant shifting of ground that characterises his arguments with Larisa – during which the pair wander miserably around picturesque French towns, neither getting to do what they want to, with the fact of their childlessness only a Freudian slip away – the novel is full of instances of self-deception and people interacting at cross purposes.
This is helped greatly by Novak’s witty voice. Whether his characters are asserting the opinion that ‘in Ljubljana they’re incapable of making a coherent croissant’ or expressing home truths about the Bosnian War there is a pithiness to his writing that makes for absorbing reading. This is coupled with a series of great cameo characters. I particularly enjoyed the German couple at Ducasse’s country inn, who have planned out every minute of their holiday, barring the ‘five percent spontaneity they generously afford themselves on every trip’.
The humour is important because it buys Novak considerable slack when the narrative rises into the realms of the surreal, tugging at its moorings like a hot air balloon. Watching the plot move into farce after 80 pages or so – with kimono-sporting monks, religious SWAT teams, gender-morphing musicians and the President of Slovenia all dropping in under the watchful eye of the mysterious aesthete, Contractor – is disconcerting and would no doubt be off-putting if the novel weren’t so enjoyable to read.
The same is true of the clamour of philosophical and religious references in the narrative. These centre around Contractor’s desire to reconstruct religious tableaux for the modern age in an effort to create what is variously described as ‘a commercial for a better world’, a ‘pornographic invitation to rebellion’ and the basis for the ‘alteration of people’s very sensibility’. The whole thing might be unbearably pretentious in another writer’s hands, but in Novak’s it’s quirky, intriguing and odd.
That said, the book is not without its frustrations. Even with the general rule of thumb (broken occasionally with the story of the German mythology professor) that the chapters alternate between the experiences of the psychiatrist and Orada, it’s often hard to know where you are. I spent the beginning of several sections straining to catch a familiar reference so that I could work out who I was reading about – a tricky extra complication when you’re dealing with a plot that embraces randomness. In addition, there are some abrupt shifts that leave us scrabbling to catch up. In one paragraph, for example, Orada is watching the Venezuelan police seize an accomplice on the beach; in the next, Contractor is stopping his motorbike in some woods. It’s left to us to infer that Orada hopped on behind him.
All in all, though, this is an enjoyable and surprising novel. No doubt the plot and the subject matter will be too wacky for some readers, but if you give yourself over to it, the narrative sweeps you along, delivering a good helping of insights, thrills, spills and laughs along the way. Apparently, Novak is working on a second novel, this time about the mysterious death of an eccentric pianist-performer in 1980s Paris. I’m intrigued to see what that will entail…
The Golden Shower or What Men Want (Zlati Dez ali Kaj Hoce Moski) by Luka Novak, translated from the Slovenian by Urska Charney (Guernica Editions, 2012)
October 24, 2012
There were lots of choices for Pakistan – and lots of visitors to this blog with opinions about which book I should go for. Writers such as Daniyal Mueenuddin, Musharraf Ali Farooqi and Bapsi Sidhwa came up several times in discussion and I had plenty of possibilities to check out when it came to choosing the work for this post.
However, when I started to research the suggestions, there was one book with such a fascinating story behind it that, when I discovered how it came to be published, I knew I would have to read it. Recommended by both Waqas and blogger Fay, who kindly shared her personal Man Asian Literary Prize shortlist with me, The Wandering Falcon by Jamil Ahmad might never have made it into print. In fact, the first draft of the book, which Ahmad wrote in the early seventies, was locked in a trunk for 30 years and presumed lost by its author after it failed to find a publisher in Pakistan. Luckily, as the novelist told Publisher’s Weekly last year, Ahmad’s wife Helga kept the key, and when Ahmad’s brother heard about a literary competition the work was brought out once more and quickly passed to Penguin.
Framed around the life of Tor Baz, an enigmatic nomad living in the border hills of Iran, Pakistan and Afghanistan meet during the mid-20th century, the novel reveals a volatile and fragile world. Orphaned young when his parents are killed by their tribe because of their elopement, Baz passes through a range of groups and guardians, eventually carving out a living by selling information to rival factions in the region. Along the way he crosses paths with lonely soldiers, a mad mullah, people traffickers, prostitutes, a naive European in search of his roots and a wife fleeing the tyranny of travelling with her husband’s performing bear. And, as the British Empire retreats and the borders of the region’s newly declared nations take shape and harden, a desperate struggle emerges between the old ways of life and the modern order.
Ahmad’s depiction of the border region’s landscape is extraordinary. Wild, haunting and treacherous, this ‘tangle of crumbling weather-beaten and broken hills’ and the plains beyond it seem to have as much character and agency as the people who make their lives there. The landscape even moulds their personalities, teaching them ‘to be deliberate in their actions and slow in responding to emotions’ with its silence, harsh beauty, 120-day winds, and wide, open spaces across which pursuers can be spotted from miles away.
Yet for all its magnificence and antiquity, the landscape is in many ways little more than a rumpled blanket that can be shaken by external powers, tumbling those upon it into confusion. As a result of the closing of the borders and the political changes in the region in the late fifties, many of the local tribespeople run up against unfamiliar forces with which they must do battle in order to survive. Sometimes, tradition and ancient wisdom gain the upper hand, as when the nameless foreigner ventures into the off-limits Afridi territory of his father’s youth only to die a bewildered death, or the local official sent to challenge the Bhittani tribe over colluding in a kidnapping finds himself locked in a ‘battle of wits’ with the tribesmen and is obliged to give up because ‘he could offer no story to counter the old man’s logic’.
More often though, the traditional ways and those who practise them are warped and broken by the weight of a modern system that leaves no room for ambiguity. As the nomadic, stateless Kharot people discover when they attempt to cross the border to the pastureland their tribe has used for centuries and which their animals need to survive, ‘the pressures were inexorable. One set of values, one way of life had to die’ – and die in the most brutal of circumstances.
Such tragedies bring out Ahmad’s most passionate and beautiful writing. In these moments, his disarmingly stripped-back style – characterised by insights such as ‘hope does not die like an animal – quick and sudden. It is more like a plant, which slowly withers away’ and the description of a murdered Mengal tribesman sliding ‘down in small jerks like a broken doll from the saddle to the ground’ – concentrates itself into powerful direct appeals. Perhaps the most moving of these concerns the execution of seven Baluch tribesmen, who, when asked to explain the murder of some rivals, find that their lengthy discourse on the history of tribal relations in the region holds no power to impress the court. ‘Fables have no use here. They are not evidence,’ says the judge, going on to sentence them to death and paving the way for Ahmad’s most memorable pronouncement on what such decisions cost:
‘What died with them was a part of the Baluch people themselves. A little of their spontaneity in offering affection, and something of their graciousness and trust. That too was tried, sentenced and died with these seven men.’
This is that rare breed of writing that springs from deep love and knowledge of a place and the people who live there. It is not saccharine, picture-postcard sentimentalism, all rose-tinted nostalgia; nor is it explorer’s obsession, tripping over itself in its eagerness to analyse and explain. No: it is a love that has been forged and tempered by years of living in and absorbing a region in all its beauty, brokenness, brutality and brilliance. Astonishing – and well worth the wait.
The Wandering Falcon by Jamil Ahmad (Penguin, 2011)
October 22, 2012
The suggestions for the small southern African Kingdom of Lesotho were a bit thin on the ground. The two authors who had been recommended, Thomas Mofolo and AS Mopeli-Paulus, were both long-dead, pre-independence writers whose books came out in the early 20th century.
I was sure there had to be more some more recent Lesothan literature available in English. But it wasn’t until I got talking to people at the recent, excellent International Translation Day event in London, that another lead emerged. There, a world-literature fan told me that her book group had read and enjoyed How We Buried Puso by Morabo Morojele, a contemporary Lesothan author.
Heartened by this news of a recently published book in English by a writer from Lesotho, I returned to my search refreshed. It was then that I stumbled on a surprising statistic: according to the CIA World Factbook, female literacy in Lesotho is unusually high for the region (estimated to be around 95.6 percent in 2010). It’s so widespread in fact that it outstrips male literacy by quite a long way – only 83.3 percent of men in the country can read.
If I found a book by a Lesothan author, then, it might well turn out to be by a woman. And so it proved: a few searches for ‘Lesotho women writers’ later, I was ordering a copy of Basali! – a collection of short stories by Lesothan women, edited by K Limakatso Kendall.
The product of her two-year Fulbright Scholarship in Lesotho, the anthology grew out of work Limakatso Kendall did with students at the National University of Lesotho, who gathered, transcribed, translated and even wrote the stories in the book. Many of the tales were told originally in Basotho and consist largely of episodes from the storytellers’ lives. These range from accounts of what led the narrators into particular vocations, including health work and life in a convent, to stories of overcoming hardships and challenges, such as Tembela Seleke’s memory of her return to South Africa years after the assassination of her husband there and ‘M’amoroosi ‘M’aseele Qacha’s tale of a woman’s reaction to the discovery that her schoolboy son has brought home a wife. There are also celebratory pieces, such as ‘The Universe’ – the only poem in the book – which is a sort of hymn to the beauty of the natural world.
Discrimination underscores many of the stories. Published in 1995, only a few years after the collapse of apartheid in neighbouring South Africa, the collection reveals the legacy of widespread racial persecution in many of the narrator’s lives. We see it in the terror of Usiwe as she contemplates a trip back across the border in ‘The Lost Sheep is Found’, as well as in the first story ‘Three Moments in a Marriage’ by Mpho ‘M’atsepo Nthunya, in which Agnes remembers her family’s mistreatment at the hands of the Boer police.
The gender discrimination that has limited many of the women’s choices also drives a lot of the stories. Although Lesotho traditions mean that, in many areas, girls are better educated than boys because boys are taken off to be trained for farming, physical labour and other traditionally masculine pursuits at a young age, the strongly patriarchal structure of society there dictates that decision-making rests entirely with the men, leaving women at the mercy of their male relatives.
This power imbalance manifests itself in many ways, such as the extreme domestic violence depicted in ‘M’atseleng Lentsoenyane’s ‘Why Blame Her?’, in which a wife is beaten because of her inability to bear children. However, it is also a spur to great courage and ingenuity. In Mzamane Nhlapo’s ‘Give Me a Chance’, for example, we hear the story of Mama KaZili, who refuses to let her children starve because of her husband’s irresponsible behaviour and trudges through the snow to confront his indignant relatives with a speech that deserves a place among the great feminist manifestos:
‘”Yes I know the Bible,” she answered. “It says women should keep silent: ‘they are commanded to be under obedience, as also saith the law’. Customary laws also treat women as children who are supposed to be under the man’s guidance and protection. Women are considered weak and naive. They have to seek permission even for little things like visiting friends and parents; in looking for employment; when they want to go to school, or ask for a scholarship or a loan; in applying for a site… Name them all.” [...]
‘”All these forms of gender inequalities and injustices take place in a government that repeatedly points out with pride that it has been elected by women because men, who are predominantly away in the South African mines, are mostly pro-BCP. Society and government don’t want to give women a chance. Women have to seek permission for everything that can improve their lives. Before I pass away in this world I want to have had a chance to improve my life and the lives of my children.”‘
Such words are very inspiring, particularly when accompanied by the celebration of women’s friendships and relationships that runs throughout the book. From the ‘Letter to ‘M’e', in which a daughter praises her mother, to the intriguing description of the motsoalle (best friend) celebration in ‘Three Moments in a Marriage’, there is a strong sense of camaraderie and sisterhood between Lesothan women as they struggle in the face of hardships and discrimination, and seize the chance for education, described by Julia ‘M’amatseliso Khabane as ‘a weapon to fight life’.
The result is a stirring and memorable collection. While the anecdotal quality of the stories can mean that a few of them lack polish and impact, the overall effect is striking. I was inspired and moved. Great stuff.
Basali!: Stories by and about women in Lesotho edited by K Limakatso Kendall (University of Natal Press, 1995)