True wit should
break a wise man's heart. It should strike at the exact point of weakness and it should
scar. It should rest on a pillar of truth and not on a gelatin base, and the truth is not
so shameful that it cannot be recorded. Dawn Powell
DAWN POWELL AT HER BEST
ed. Tim Page, Steerforth, 1994
Jim Crace (ARCADIA, Atheneum;
SIGNALS OF DISTRESS, Farrar, Straus & Giroux, 1996; QUARANTINE, Farrar, Straus, 1998):
Robert Frost is somewhat out of fashion at the moment. Readers find him too
unyielding and grumpy, a New Hampshire smallholder and countryman who would gladly scatter
any trespassers with his twelve-bore couplets. He's also too conservative as a poet
(Writing free verse is like playing tennis with the net down.) But I like
grouchy Farmer Frost. I continue to admire his cantankerous love of the land and his
solid, intimate understanding of weather, water stone. There is nothing Wordsworthian
about his experience of nature. He has fixed that dry stone wall himself, walked the
sodden pasture lane, snagged his own axe in the alder roots. Robert Frost, THE COLLECTED POETRY (Henry Holt)
WAITING FOR THE BARBARIANS,
by J.M. Coetzee, is the modern novel I would most like to
have written, and Coetzee is the novelist who has most directly influenced my own books.
His works are sparkling, disconcerting allegories about exploitation, oppression and
imperialism both in and beyond his native South Africa, but written with immense narrative
drive and great clarity. BARBARIANS is the story of an ineffectual magistrate, banished to
the frontiers of Empire and only realizing too late that waiting for the barbarians to
arrive has blinkered him from noticing that the real barbarians are already in command.
Could be anywhere.
THE SONG OF THE DODO,
by David Quammen, is a recent personal favorite, my fantasy book in fact. If I
hadnt been a novelist I would have wanted to be a naturalist, an adventurer or a
traveller. Quammen is all of these. His book is subtitled Island Biogeography in an
Age of Extinction and is ostensibly a painstaking -- almost 700 pages! -- report on
the distribution of animal and plant species on islands. This could have been a work of
armchair scholarship, but Quammen has the nature of a prowler and the eye of a novelist.
We end up hunting dodos, marsupial tigers, dragons and a pestilential outbreak of snakes
in Mauritius, Tasmania, Komodo and Guam while Quammen reveals his Theory of Everything. I
have never before been so completely captivated by a work of non-fiction. A masterpiece of
natural history.
Jeanette Watson (owner of the late
Books&Co., NY, and publisher of Off the Wall, a quarterly newsletter available
from Books&Co./Turtle Point Press, 103 Hog Hill Road, Chappaqua, NY 10514):
As readers may know by now, I love erotic books and Ted Mooneys latest
novel, SINGING INTO THE PIANO (Knopf, 1998),
has the most erotic first chapter Ive read in a long time.
I was riveted by Christa Wolf's new book, MEDEA (Nan A. Talese/ Doubleday, 1998), an
engrossing retelling of this classical tale which offers an important commentary on the
power struggle between men and women and a new take on a familiar tragic figure.
I thought W.G. Sebolds THE IMMIGRANTS (New Directions, 1997) was one of
the great literary discoverie of last year -- a remarkable work of imagination,
compassion, and intelligence, and so Im very excited to see that May promises a new
translation of this German writer's work entitled THE RINGS OF SATURN
(New Directions, 1998).
Isabelle de Courtivron (Professor
of French Literature, MIT): Patrick Chamoiseau, SCHOOL DAYS,
tr. Linda Coverdale (Univ. of Nebraska Press, 1997). Eva Hoffman, LOST IN TRANSLATION: A LIFE IN A NEW LANGAGE (Penguin Books, 1989). Richard Rodriguez, HUNGER OF MEMORY: AN
AUTOBIOGRAPHY (Bantam, 1983)
These three autobiographical narratives focus on the
difficulties and rewards associated with growing up bilingual and bicultural. Although
their authors relate different childhood trajectories (Hoffman is a Polish Jew who
emigrated to Canada with her family when she was 13; Rodriguez is the son of
Mexicans who moved to California where they brought up their children; Chamoiseau
was raised in Martinique), they share many themes. One of these is the hunger for
memory, that is, the longing for a chilhood paradise where the language of
home (Polish/Spanish/Creole) represented a linguistic unconsciousness and a
seamless, unfragmented, intimate world from which all three authors were painfully
expelled. The authors all recount their alienation as they became lost in
translation.
Hoffman analyzes the confusion involved in the
divorce between signified and signifier in her attempts to adapt to a new American
culture; Rodriguez emphasizes the painful split he experienced between the intimacy of the
Spanish language spoken at home and the intrusion of the public language, English, in
school, as it invaded and ruptured the familial harmony. Chamoiseau recounts the cruel
transition from a reassuring Creole-speaking home to the hard apprenticeship of official
French language enforced by the Francophile Martinique schooteacher who has assimilated
the values of the colonizer and is intent on banning all remnants of Creole from his
students's speech.
Finally, all three writers are transformed by
school days when each becomes obsessed with language, with mastery of the
written word, with scholarly or intellectual pursuits which led them to become
distinguished writers and journalists. Their stories offer very different resolutions to
their experiences. Hoffmann concludes that in a postmodern word, her fragmented identity
is in fact the best way to fit into contemporary American lfe. Rodriguez makes
a strong argument against bilingual education and affirmative action. Chamoiseau weaves
Creole and French into the novels which have brought him international success.
Joan Schenkar (SIGNS OF LIFE/6 COMEDIES
OF MENACE, Wesleyan University Press, 1998): A brilliant exploration of
aspects of nothingness: psychological, philosophical, mathematical, and dramatic. Brian
Rotman, SIGNIFYING NOTHING: THE SEMIOLOGY OF ZERO (St. Martins
Press, 1987)
An insouciant examination of the ways in which women
and computers are made for each other." Sadie Plant, ZEROS AND ONES
(Doubleday, 1997)
The great, burning, maverick novel of the 20th
century, published in 1937. I consider her the Emily Bronte of Modernism. Djuna
Barnes, NIGHTWOOD (New Directions)
Originally published in 1968,
reissued by Virago/Little, Brown, is A COMPASS ERROR,
by Sybille Bedford, a brilliant novel of such moral complexity that it makes you
shudder.
And then, I recommend my own dazzling book of plays,
SIGNS OF LIFE -- so much fun to read; designed to be read and
staged in the head.
Odile Hellier (Proprietor, Village
Voice Bookshop, 6, rue Princesse, Paris 75006): I highly recommend John
Banvilles beautiful novel. He ironizes about the tragedy of a man but is never
tragic; he sees from a distance yet highlights the atmosphere of the elite, intellectuals,
homosexuals. Everything is closeted but also understood. For me it is the essence of
mastery, a novel of maturity in which he is able to balance so many different elements
that there is a nobility, almost, in that mastery. John Banville, THE
UNTOUCHABLE (Knopf, 1997)
I think THE UNQUIET GRAVE is un petit livre de
chevet, a book that you should keep by your bedside. Its about beauty in a time
of hardship -- the Blitz, when he is horrified by the dehumanization of mankind. The
beauty of which he writes can be that of literature, of myth, of landscape in the south,
of his house. He sees that if man needs the peace of the countryside, he also needs the
city, the man-made world of civilization. He evokes life again -- conversation, cafes
during the day, not the London Blitz at night.
Cyril Connolly (Palinurus), THE UNQUIET
GRAVE (Persea, reprint 1982) I felt that LeAnn
Schreiber's portraits of life in the country were very good; not pretentious but good. In
this narrative she has retired to the country because of the gravity of her life -- there
has been much loss -- and there finds light. In the microcosmus of her life in this house
in the country, she sees the cosmos. LeAnn Schreiber, LIGHT YEARS
(Lyons and Burford, 1996; Anchor, 1997)
Sarah Gaddis (SWALLOW HARD,
Atheneum): In a flashback of an obsessive relationship, the novelist and
translator Lydia Davis leads the reader in circles as she shifts beginnings and endings
and perceptions in this tale of loneliness, bitterness, and wit. Each scene of the
unraveling affair, which is recounted by an unnamed woman and takes place in a fictional
California coastal town, is at times as visually stark and stunning as a Hopper painting,
at times fractured, as if seen through a prism. As readers we are invited to take the
responsibility of confidante seriously from the first, circular sentence to the
last. Lydia Davis, THE END OF THE STORY (Farrar, Straus
& Giroux, 1995; High Risk Books, 1995;
Serpents Tail, 1996)
George Garrett (THE KING OF BABYLON
SHALL NOT COME AGAINST YOU and WHISTLING IN THE DARK, Harcourt-Brace): In a
season of Civil War books, some of them highly praised and commercially successful,
quietly came NASHVILLE 1864, by Madison Jones; his first book in some years, a lean,
evocative look at the Battle of Nashville from a childs point of view. Of
Jones fiction Flannery OConnor wrote: Hes so much better than the
ones all the shouting is about. That condition is unchanged. Madison Jones,
NASHVILLE 1864: THE DYING OF THE LIGHT (J.S. Saunders, 1997)
It has also been a season of Hollywood novels.
Muriel Spark adds some new wrinkles to that genre; most of her story takes place in London
and France and involves the gifted American film director Tom Richards, his complicated
family life, and the dangers and daring of his craft. Muriel Spark, REALITY AND DREAMS (Houghton-Mifflin, 1997)
The central figure of Anthony Burgess latest
and evidently last work is an artist also, a painter and a composer and a great seducer,
and BYRNE is unlike any novel you have read or will read in a long time, being written
entirely in fluent verse, four out of five parts in Byronic ottava rima, with one
section of virtuosity in the Spencerian stanza, all of it, believe it or not, lively and
accessible reading. Anthony Burgess, BYRNE: A NOVEL (Carrol
& Graf, 1997)
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