This tale of the inner workings of city politics in Philadelphia, Worthy of This Great City (Jam Publishing, 249 pages), is what you might term an impressionistic novel. Meaning that it consists of a plethora of descriptions of people and scenes with very little progression of plot. The reader steps back from the many colored dots and contemplates the thing as a whole, and that’s when it begins to come into focus.
Teeming with characters who play minor roles, the book has essentially only two main characters. The first of these is Constantine Manos, an investigative journalist, who is doing a feature article on the second, Ruth Askew, a radio personality on a local station and the wife of Councilman Thom Askew. Continue reading
Throughout most of our lives, we can ignore our fears about the threat of non-existence that yawns beyond the casket with as much reality as the non-existence out of which we came into our cradles. But when facing death, our own or that of a loved one, we feel compelled to review the idea of after life. Believers ratchet up their beliefs and atheists, like Hal in Jim Snowden’s Dismantle the Sun (Booktrope, 324 pages), hang tough.
According to conventional wisdom, atheists are imaginary creatures. No one (except other atheists) believes they exist, certainly not in the foxhole of impending death. This is why deathbed conversions are expected, even in the most “literary” of end-of-life novels, despite the fact that one of the accepted roles of a literary fiction author is to question how we make sense of our lives. If most novels have the same after-life-affirming answer, I wonder if these novelists are really asking themselves the question, or merely posing it rhetorically for the sake of a denouement. Every deathbed conversion, it seems to me, is another failure to actually question the meaning of life. Continue reading
The abecedarium has a long literary history, and some of its best-known examples, such as Ambrose Bierce’s Devil’s Dictionary or Gustave Flaubert’s Le Dictionnaire des idées reçues, play with the form’s implied authority for purposes of satire. Recently Matt Bell’s Cataclysm Baby used the template to convey hellish fragments of an environmental dystopia. Suzanne Scanlon, author of Promising Young Women (2012), turns to a woman’s experience in contemporary America and offers a probing and artful inventory in Her 37th Year, An Index (Noemi Press, 161 pages). Continue reading
Andrew’s Brain (Random House, 244 pages), by E. L. Doctorow, is the narrative of a brain whose content has been digitized, whose DNA code has been cracked, and which now resides in a vat or has been uploaded to a computer at some Bush-era detention or torture site, unaware that he is no longer embodied, believing himself to be telling his story to a therapist (who, Andrew suspects, may be CIA), sometimes imagining himself to be elsewhere, writing to or phoning his therapist, sometimes visiting his office, but never realizing that he, like any human perhaps, has no true self-awareness because a brain cannot objectively know itself. Continue reading
“I was pleased to discover in myself an uncanny knack for interpreting the hermetic language of alchemy, as if my book learning had been but a preparation for decrypting enigmatic texts, reading meaning into that which, on the surface, seemed meaningless.”
So says the unnamed narrator of Charles Davis’ The Pilgrim of Love: a ludibrium, an obsessively researched and elaborately plotted parody of an historical romance. (Parody, as I understand the term, is best written by an author who actually loves his target, but who can put some ironic distance between himself and his subject.) The story is set in the abbey of the legendary Mont Michel in 1621, when the absence of roadway access meant visiting pilgrims had to make their way around quicksand between dangerously unpredictable tides. The landscape always plays an important and often symbolic role in Davis’ novels. The pilgrims must interpret the patterns in the sand to avoid sinking in the lise. Continue reading
“Someone had to die for Hal Nickerson to live in the house that he and his wife Jodie bought for a song seven years ago.” So begins this dry-toned, cool, and detached novel Dismantle The Sun (Booktrope Editions, 324 pages) with a line and a sentiment that prove to be something of a mantra for its main protagonist and a lynchpin refrain for the narrative arc. In the world of nature — in the world of man — something has to die for something else to live. Some persons — the Nickersons — include this in their ample proof of the non-existence of a beneficent Creator, while others — the fundamentalists — attribute the state of the cosmos to original and ongoing sin. Both take it all very personally. Hal Nickerson’s atheism in conjunction with that of his wife informs all of his sensibility while providing a certain distance from the most basic issues of life and death, love and hatred. Continue reading
Tokyo, 1994. Japan is now well into what observers will later call the “lost decade,” a downward spiral triggered by the Japanese central bank’s bursting the speculative bubble of the 1980s. The seemingly inviolable climb of the Japanese economy—and society—has reversed.
Triangle, the 2001 novel by the respected Japanese writer Hisaki Matsuura released in its first English edition by Dalkey Archive Press (233 pages) this month, is an attempt to transform the Japanese downward spiral into a metaphysical thriller. But novels—even literary ones—based on conceptual ideas rarely work. Continue reading