My four favorite bookshops in Paris. I mean God knows when I’ll return to Paris, but these are places I’ll certainly go back to. All four highly recommended. They are, clockwise, Aaapoum Bapoum, Violette & Co, Texture Librairie and Librairie Charybde. If you go, tweet at me?
This is to add a short note. In my review of Samanta Schweblin’s novel Fever Dream, I wrote, ignorant buffoon that I am:
It’s a sense of evil lurking in the very ground – and Schweblin makes it an ecology issue, by connecting it to some unnamed barrels with some unnamed fluids. Some of the symptoms line up with radiation poisoning. […] But with all the lovely possibilities we have of storing poison underground, God knows what it is.
So I asked Argentinian academic Magdalena López and apparently it’s about a pesticide illness connected to the recent flood of transgenic crops, specifically transgenic soy, in Argentina. Here is an overview by Walter Alberto Pengue of the problematic trend of Argentina’s transgenic crops. Deutsche Welle has an article about protests related to the poisons, called “Pesticide illness triggers anti-Monsanto protest in Argentina.” Notably, the symptoms described in the article fit the ones in Schweblin’s novel pretty well.
“When he was four years old, he came down with the illness that left him temporarily paralyzed,” she recalls. “He was admitted to the hospital. They told me that they didn’t know what was wrong with him.”
And finally, to round things out, here is a 2015 article by Vice, titled “Argentina’s Soybeans Help Feed the World But Might Be Making Locals Sick.” I hope these suggestions make up for my initial mis-/ill informed blunder in the review. If you haven’t read the novel yet, you should!
so this is what we got this year. as if to remind me to stop caring about awards, this year’s Booker has arrived with a list that starts with Paul Auster’s colossal turd. I know, I know, it’s the alphabet. This year, as most years since the ill advised inclusion of US literature in the Booker roster, the mixture is the usual. Commonwealth super heavyweights (the Smiths), Commonwealth solid lit (Barry, Roy, Shamsie), Commonwealth mediocrity (McGregor, Hamid, and if I may add: the constant praise for Hamid is a mystery to me), and Commonwealth writers I don’t know. PLUS super famous and brilliant American writers. Yes, this is not Saunders’s best work, but Saunders is one of the world’s best short story writers. This is not Whitehead’s best novel, but I consider Whitehead a complete genius. this seems a bit unfair for the Commonwealth part of the list. Ah yeah. And then there’s Paul fucking Auster.
4 3 2 1 by Paul Auster
Days Without End by Sebastian Barry
History of Wolves by Emily Fridlund
Exit West by Mohsin Hamid
Solar Bones by Mike McCormack
Reservoir 13 by Jon McGregor
Elmet by Fiona Mozley
The Ministry Of Utmost Happiness by Arundhati Roy
Lincoln in the Bardo by George Saunders
Home Fire by Kamila Shamsie
Autumn by Ali Smith
Swing Time by Zadie Smith
The Underground Railroad by Colson Whitehead
I don’t, as a rule, like short novels, but since I started to add a few short novels into my reading diet in recent years I have become strangely appreciative of these books. I, generally, prefer think, juicy slabs of books, whether it’s the literary mammoth by William Gaddis, or the somewhat dull bricks Robert Jordan used to write. I still can’t really read short stories. I take a while to find my way in a book and the whole reading process of short stories baffles me. Short novels I never took to before for similar reasons. There are exceptions – Jean Rhys is one of my favorite writers, and all her novels are short. Similarly, I’ve admired Paula Fox for a long time. But overall, seeing a low page count always discouraged me from reading a given book. And I think that’s changed. And as I grew to like them I noticed that they are darn hard to write.
I have always considered a more baroque, expansive style easier to maintain with middling skills than a bare-bones simple style of writing. You can hide infelicities, and inaccuracies in the thicket of prose, whereas Hemingway inspired an awful mass of books written in a style that is called “bleak” or “sparse” or “dry” – but is mostly sloppy and bad. Hemingway’s own early stories, which inspired this writing, sing with potential, allusion and complexity. They are dense and their words are extremely well chosen. This is, in my opinion, enormously hard to maintain at a high quality. Even writers who have managed to excel at this, never do it for a long time – remember Richard Ford when he wrote Rock Springs? Take a look at the bloated excess of Lay of the Land. Or take a look at Hemingway’s final two novels (I like late Hemingway, but not for the prose).
The same, it occurred to me this morning, is true for short fiction. Well executed short fiction is exceptionally rare. We can’t all be Hemingway and, indeed, we can’t all be Kafka. Short fiction in my opinion needs to deliver on the same things as long fiction: characters, plot, emotion, i.e., the meat and potatoes of all fiction. But while you can get a bit lost in longer books, and see structure as a rough scheme, every structural inadequacy comes to the fore in short fiction. And writers seem to be aware: there is an odd tendency to over-structure short novels, to really make use of the increased attention. It leads to dull, overly intellectual books that read more like a pitch for a possible novel, rather than the novel itself. And I’m not against intellectual novels, I am a card-carrying fan of David Markson, after all, but that, too works better when greased with the buttery softness of excess words. Wittgenstein’s Mistress, boiled down to a hundred pages would be much less exciting. And the worst thing is that there is an ungodly amount of talented, but not great writers who offer short novels in a minimalist style, setting themselves up for failure not once but twice.
Having such strong opinions about bad short novels has however led to a real, true appreciation for short novels that use their limited canvas very well. I have been wondering whether I have overpraised novels like Signs Preceding the End of the World, The Warren or Point Omega, just because they are so extraordinarily good, on what I consider exceptionally challenging terrain. I think I may just develop a particular love for short novels. I would still always pick the monumental, backbreaking novel over the middling 200-300 page version, but now I also glance at their slimmer siblings at around 100 pages with a kind of terrified interest. Chances are, they turn out bad, but OH how great they are when they are good.
Campbell, Sophie (2017), Shadoweyes, Iron Circus Comics
Sophie Campbell is one of my favorite people in comics. She’s been publishing comics for a long time now, sometimes as artist and writer, sometimes “just” as artist. It’s been a while since new work written by her has appeared in print: that’s all the more reason to celebrate Iron Circus Comics’s new reprint of her Shadoweyes comic book, originally published by Slave Labor Graphics in 2010. Trust me: you want to read this. Sophie Campbell’s art is gorgeous, the story and ideas are cohesive, moving and complex. If you are tired of the usual stories about vigilantism and superheroes, you might like this one. Campbell best and most well known work is the sharp sequence of graphic novels called Wet Moon, of which 6 volumes have appeared so far, and in some ways, Shadoweyes is its polar opposite: Wet Moon is conscientiously realist – offering a story about real lives in a way that isn’t usually presented in comics. Campbell’s characters are queer, of color – and colorful, struggling with money, sexuality, love and other issues, with a palpable physicality that similar books, like Terry Moore’s classic Strangers in Paradise, lack. In fact, if you follow Campbell’s work, the topic of physicality, of change, is tied into her examination and interrogation of feminity. Shadoweyes reads like an early attempt as synthesizing all of her themes in one powerful image: of the young vigilante who turns into a kind of alien monster, without losing any of her humanity. It’s about the inevitability of some physical change and about the way we deal with it. I’ll be honest though: the main reason you should read this is because Campbell is an amazing, gorgeous artist, and while her black and white work is great, her work in color is beyond description. This new edition of Shadoweyes is in full color, which the original wasn’t. Coloring assistance is provided by Erin Watson, who does a great job.
Campbell’s art, particular when colored, is transformative. She is an artist who takes care of the little details: hair, clothes, smaller accessories are rendered with a focus that is unusual, because Campbell, I think, truly understands how dependent often people’s identities are on what we might call these little things. In her own books, her excellent writing may overshadow sometimes the enormous lifting her art does. There are two titles that appeared in the last 5 years that should change your mind on that: one are the two trades of Glory that appeared from 2012 to 2013. The writing on the book, by Joe Keatinge, is very good, though a bit rushed by the end (had the book not been canceled I think the latter half of the story might have fared better), but it is Sophie Campbell’s art that truly lifts this title to a higher level. Keatinge took a character invented by Rob Liefeld and turned her complex and humane, giving her a tragic, moving character arc. None of this would have mattered if not for Campbell’s approach to the main character. You can always recognize a panel drawn by Campbell within seconds, and many characters in the book are very Campbellian: soft shapes, big eyes, unique hair style. But Glory, the main character is not human, her physicality, as established by Liefeld, is the one of an overpowered superhero: but Liefeld drew her as a pin-up (click here for Liefeld’s Glory), her physical power implicit in the actions, not her physique. Campbell’s Glory’s power is evident in her size, her thick, muscular body. Glory is tall, muscular, yet also feminine, and her life and emotions are extremely carefully designed by Campbell. Glory is a warrior and so her body is drawn with ripples of scars – what’s more, the big, muscular female in comics is often de-sexualized. Not so with Campbell who created Glory to be fully rounded, the various possibilities of life reflected in the various aspects of her physical appearance. There is a physical change that Glory goes through, as the story develops, and all the changes flow from the same, unwavering sense of aesthetics that is the artistic mind of Sophie Campbell.
Now, Glory is gorgeous, but extremely bloody and brutal. Sophie Campbell’s next major collaboration, Jem and the Holograms is neither of those things. Like Glory, Jem is a reboot of older material, in this case an animated series about a rock band that has the power to transform into anything they want thanks to a supercomputer named Synergy that can create life-like holograms. Not every part of this story makes equal sense, but why would you dig deeper when the story on offer is fun? That’s all equally true for the comic book, written by Kelly Thompson, who has used this book to jump to a very active writing career in comics, with art by Campbell (and colors by M. Victoria Robado). It’s odd to me that Thompson is the breakout star of the book when the major advantage of the book is Campbell’s art. The animated series has Jem’s band be in a constant conflict with a rival band called The Misfits (no, not those Misfits) and Campbell creates a clear design for both bands that is both believable and realist in its use of clothing, hair and other accoutrements, and at the same time absolutely, gorgeously fantastic. In Jem and the Holograms, we find Glory’s flowing hair again, the long limbs, but this time they are woven around music. The conflicts here are personal rather than apocalyptic, but we follow everything with rapt attention because of the world Campbell has created. Some of the writing is weak, some of the plot could have been better managed, much of it moves from bullet point to bullet point with an almost mechanical abruptness, but I dare you to be bothered when the delivery method is this glowing yet sharp and precise art. It’s not even the story itself that’s at issue, after all, Campbell had a hand in it, it’s the smaller details of writing that left me underwhelmed, but the art, truly, makes up for everything. So why isn’t Campbell the breakout star with her own book right now rather than Thompson?
The reason may lie in Campbell’s vision that is one that exceeds simple narratives of physicality and identity. In her books, people are damaged or change and then they live with that change. Sometimes people are not who we (or they) thought they were, but they push through that, adapt, move on. There is no simple episodic ‘back to the start’ for Campbell. The zombie tale The Abandoned ends on a complicated note of betrayal and unknowable future, ending at the story’s messiest point, and similarly, the limb lost in Water Baby remains lost, and the trust between some of the book’s characters is damaged. We change, we move on, that’s a pattern that keeps recurring in Campbell’s books and that isn’t that common in comic books. Plus, as a trans artist, Campbell’s voice isn’t as easily amplified as that of other unique comic book writers of today like Brandon Graham, about whose developing universe I’ll write something one of these days, or Matt Fraction, say. I will talk about Wet Moon in more detail some other time, but the fact remains that it is a complicated, untidy book – the comics industry, for all the genre’s potential for undermining simple narratives, is often remarkably conservative. Terry Moore’s Strangers in Paradise was a revolution, simply for writing a plain story about regular female characters, dressed and behaving like regular female characters. Wet Moon, with it’s more physical queerness is a more difficult proposition. These days most (all?) work that Campbell publishes (I can’t figure out which trades of TMNT contain her art, regrettably) is pencilwork for other writers and I suspect she has become most well know for her work on Jem and the Holograms and Glory. To these people, I recommend Shadoweyes without reservation, because it’s spectacularly gorgeous, combining, in some ways, two kinds of art that Glory and Jem split into two different directions. But Shadoweyes is more: it is also an unbelievably well told story about identity. In some ways, Shadoweyes serves as a key for some of Campbell’s other work, as it connects, through its intersex character Kyisha, the way preternatural transformations, common in superheroes and monsters, are a metaphor for the way people born into wrong or conflicting bodies deal with their identity. That’s not a popular topic, and not an easy one, but you can even find it in books Campbell didn’t write, just drew. That’s because her art is transformative. You should read her work. Start with Shadoweyes. It is good. Then read everything else. I promise you will not regret it.
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Today, in an unusually brief voting round, the winners of the four prizes plus the audience award were announced. If you feel you need to catch up with what’s happened in the past 3 days: I did a bit of daydrinking, I have a horrible sunburn from today’s Pride, my cat doesn’t like her new food, and, oh, yeah, three days of the Tage der deutschsprachigen Literatur (TDDL). Here is my summary of Day One. Here is my summary of Day Two. Here is my summary of Day Three and if you’re completely lost as to what the hell is going on, here is my general post about the event. If you want, you can read all the texts here, though you should hurry, they won’t be online forever.
That said: only TWO of these texts are worth keeping around (though some of the lesser texts will become parts of novels and collections): the stories by John Wray and Jackie Thomae. They are not equally good, but both are complex and interesting on the page and are worth rereading. John Wray’s story in particular is excellent. It is by far the best piece of prose in this year’s competition. But, as I said in my commentary on Day One:
Based on the text alone, he should win the whole competition, easily, but with the insurrection of the small minds and literature gatekeepers, one never knows.
And indeed, they picked Ferdinand Schmalz to win the big prize. Schmalz is part of the German literature business, he gives off, as we say in German, the right smell (der richtige Stallgeruch). He is a playwright, he knows all of these critics, if not directly then by a degree of separation no higher than two. And his native language is German. Klaus Kastberger’s huffing and puffing about not getting enough respect from these foreigners on day one truly showed the way. Wray won second place almost unanimously, which almost read like an admittance of guilt by the jury, who was really pulling for an insider but couldn’t credibly have placed Wray worse than second.
Which also explains why Eckhart Nickel won third place. His text is not, by any honest measure, the third best text. At least Schmalz’s text-cum-performance was really something, almost flawless for what it was. Nickel’s story was well made, but uninteresting au fond. Nickels biggest advantage was the fact that he is German literature royalty, a founding member of the Popliteratur scene, some of whose members went on to become influential titans of German literature. He definitely has the right smell. I suggested yesterday he might have a chance at getting one of the awards, but that’s because a similar writer had won a third award before, and because this resentment towards upstarts and foreigners had been in the air since day one. The reactions to the (much better) texts by Jackie Thomae and Barbi Markovic were sad and an indictment of the jury.
As was the fact that it took until the fourth and last award for a woman to win something. The field is split 50/50 between men and women, and on my score board, the four best writers were also similarly split 50/50. In a way, we were lucky Gianna Molinari won that fourth award because on the shortlist was, inexplicably, the unspeakable text by Urs Mannhart. Mannhart and Nickel were both nominated by Michael Wiederstein, who is exactly the worst person you want to be influential in judging literature: well off, white, male, and unaware of his privilege to a pathological degree.
There was also an audience award, but I’m not discussing it. A bad text won it, but the real issue was that Barbi Marcovic’s text, one of the three or four best ones in the competition, was temporarily blocked from public voting due to ‘technical’ issues. Icing on a very unpleasant cake.
And you know what? I have a pile of books by writers from the competition, and am slowly sobering up, and next year, you know where I’ll be? Right here: in front of the livestream, following the next, 42nd, Tage der deutschsprachigen Literatur. Did I get upset at this year’s awards? Sure. But you don’t stop watching basketball just because the fucking Warriors won the Finals like of fucking course they did.
Below is my list of posts about this year’s award:
Things are coming to an end. Day Three closed the active portion of the Bachmannpreis with a thoroughly underwhelming set of texts. Tomorrow prizes will be awarded. None of today’s writers should win one, but we’ll get to that. Meanwhile, here is my summary of Day One. Here is my summary of Day Two. Here is my general post about the event. If you want, you can read all the texts here. The writers today were Eckhart Nickel, Gianna Molinari, Maxi Obexer, Urs Mannhart.
I’m not going to dwell overmuch on this damp squib of a day. Two of the texts were good, but not as good as the four texts I already highlighted, and two of them were bad, but also, somehow, in an underwhelming way. The day came, passed, I ran out of alcohol, etc. Well, let’s get on with things: to the crapmobile!
Eckhart Nickel wrote a story that one of the judges correctly connected to Adalbert Stifter (I have a bad? review of his masterpiece Indian Summer here), but that, in the end, had more in common with that German master of awful short stories, Bernhard Schlink. This was regrettable because Nickel, who is German literature royalty (outside of Wray the “biggest” name in this year’s lineup) started his text with extraordinary skill. From top to bottom, the technical execution was clean and nice, but the payoff was uninteresting. In the ease and skill of execution he reminded me (despite no overlap in plot or themes) of last year’s third place winner Zwicky. It was the best text today and while I’d rate it a distant fifth overall, it’s the only of today’s texts that should be in a prize discussion at all.
Gianna Molinari offered a text based on a real life case where an unknown refugee fell from a plane and died, nameless. In her attempt to give him back some dignity, she uses photos, and a careful examination of the workers who found him and the way the state dealt with him. I liked much about the story, but not so much the story itself? Regretfully, she reminded readers of the many writers in German who did much of this better, particularly Sebald and Lenz. The story was so directionless and boring that the audience, when the writer took a sip, applauded in apparent relief for the story to be over. Alas, no dice.
Maxi Obexer – man. So Molinari did make use of the experience of a refugee to write a German story (to apply for a German story award), but she did it with care: she was interested in that person. Maxi Obexer however also wrote about the refugee crisis, but the story was blind to the author’s own privilege, degraded other foreigners, appropriated the difficult experience of thousands to tell a small story that moved a persona very similar to the white author, who had teaching gigs in Georgetown and Dartmouth, front and center. Obexer is talented enough for the writing to be solid, and smart enough to include some good observations, but the overall feeling was creepy and unpleasant. It came really close, as a story, to offer the same blindness as the jury did yesterday. She also kissed a girl.
Urs Mannhart closed out the day and the competition and, I mean, I don’t know what to say. Molinari and Obexer both used foreignness as a trope and foreigners as props, but Mannhart told a story about wolves and men and rugged nature and horses that was set in an unnamed country (Kirgizstan?), overloaded with foreign names, occasional flat out racism; the worst aspect of the story was the undeniable solid skill of the text. Written in a 19th century adventure novel tone, it had no obvious stylistic problems or weaknesses. Except, you know, for the, uh unimaginative racism and toxic masculinity.
Tomorrow, awards will be handed out. There will be a first award, the Bachmannpreis, a second award, the Kelag Preis, and a third award, the 3sat-Preis. There’s also an award voted on by the audience. As I said yesterday, the only two writers who are on an almost equal footing in competing for first place are John Wray and Ferdinand Schmalz. Barbi Markovic, Jackie Thomae and maaaaybe Eckhard Nickel should be competing for third place. That’s not to say that this sad spectacle of a jury will vote this way. I think that the unbearable Verena Dürr stands a real chance of beating one of the better texts. And the audience is a real wild card. My ideal order is Wray, Schmalz, Thomae. Fingers crossed?