NEW RELEASES
Second Place by Rachel Cusk $33>>Lost, at sea, at odds.
How the One-Armed Sister Sweeps Her House by Cherie Jones $35
NEW RELEASES
Second Place by Rachel Cusk $33
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The Loop by Ben Oliver {Reviewed by STELLA} With its stunning jacket design and the intriguing plot, The Loop, the first in Ben Oliver's trilogy, is a fast-paced sci-fi thriller for teens. Not only is the unwinding story compelling, and the mysterious experiments on the populace mind-bending, but there is also plenty of emotional heft too, with its diverse characters, developing relationships and consequential situations. Decisions may need to be made which could prove fatal. It’s Luka Kane’s birthday. He’s sixteen and he’s been in The Loop (a high-security prison) for almost two years, his daily companion—a computer AI called Happy (Happy also just happens to be a corporation). Apart from one hour of outdoor exercise (where he can hear the other inmates—they are walled off from each other) and the warden—a young woman who looks out for the ‘safe’ inmates and gives Luka books, the days are endless (that is until you go to The Block). Every six months you can delay your death sentence by letting scientists and doctors experiment on you and every night your energy is harvested to power The Loop. When the systems start to go haywire, the guards start behaving oddly and all the inmates are called up for an extra Delay, and The Loop starts to heat up. Getting out of The Loop might have been every inmate's dream, but outside the facility the city is in chaos and the leading men are up to something strange. Luka sets out with a handful of the other inmates intent on finding his family and untangling the mystery at the heart of the latest experiment. He has been genetically altered, but how and why are the big questions. The city has been attacked, the rebels from the Red Zone are coming and the inhabitants, some of them Regulars and other Alts (modified), are pitching a vicious battle where nothing makes sense. As the teens return to the city they are confronted by zombie-like people intent on murder. A disease has infected them, but not all are affected. Why are some people immune? And what was the purpose of this experiment? And that’s not the only problem—they are also on the government’s 'wanted' list, and a new type of super-soldier with curious behaviour is zoning in on them. Touching on genetic modification, mind control and power play, 'The Loop' is an exciting, high-stakes new series, bound to appeal to readers of 'Scythe', 'Maze Runner' and 'The Hunger Games'. There are echoes of Orwell’s Big Brother in Nineteen Eighty-Four and Ishiguro’s Never Let Me Go in this not-so-far-fetched future of sky farms, controlled climate, distinct levels of human ability via modification and access to technology, and political power through marketing and its machinations. Add to this that Luka and his misfit friends are the perfect companions—you will want to keep running with them as far as this world can take you. |
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The Table by Francis Ponge {Reviewed by THOMAS} “The table is a faithful friend, but you have to go to it,” writes Francis Ponge, poet of ‘things’, in this extraordinarily subtle little book, written sporadically between 1967 and 1973, on his relationship with the table that lay beneath his elbow whenever he was writing. “The table serves as a support of the body of the writer that I sometimes {try to be | am} so that I don’t collapse (which is what I am doing at this moment) (not for fun) (not for pleasure) (but as a consolation) (so as not to collapse).” A thought may come, or not, and be expressed, or not, perhaps in some relationship with text, a problematic relationship at best, when you think of it, and go, and be perhaps forgotten, more and more commonly forgotten, or the text unread, for even the most-read text lies mostly unread, but the table continues, whatever it is, object or concept, and whatever the relationship between the table and the idea of the table that presses upon, or from, the word Table. The table lies under the work of the writer (the working of the writer), whatever that work might be, the labour of writing is supported by the table, under all writing lies the table. “The table has something of the mother carrying (on four legs) the body of the writer.” Once all the unnecessities have been removed from the act of writing, once the content and the intent have been removed, Ponge finds his table. Because the table is always beneath the writing, all writing is ultimately never on anything other than the table. “As I remember the table (the notion of the table), some table comes under my elbow. As I am wanting to write the table, it comes to my elbow and the same time the notion comes to mind.” If language could mediate the space between the object pressing at his elbow and the concept of the table, if language could allow this object to exist other than merely as the index of the idea that is imposed upon it, Ponge’s patient, precise, careful, playful rigour will approach it certainly closely enough to both deepen and dissolve the concept, to begin to replace ideas with thought. “It takes many words to destroy a concept (or rather to make of this word no longer a concept but a conceptacle).” Ponge’s operations are forensic, and his “table was (and remains) the operating table, the dissecting table.” As a support for the writer, the (t)able represents that which is able to be, and remains uncertain, and not that which must be. “One could say that this Table is nothing other than the substantification of a qualifying suffix, indicating only pure possibility.” All new thought comes from objects, from objects pushing back against the concepts imposed upon them, pushing through the layers of memory and habituation that separate us from them. If the aesthetic is not the opposite of an anaesthetic it is in fact the anaesthetic. Only objects can rescue us from the idea we have of them, but they are hard for us to reach. “The greater my despair, the more intense (necessarily intense) my fixation on the object.” Objects may be reached through the patient, precise, careful, playful abrasion of the language used to describe them, a process known as poetry, an operation Ponge performs upon a table. That which is horizontal is in a state of flux but that which is vertical has been hoisted to the plane of aspiration and display. Viewing the vertical we see that walls are built from bottom to top whereas text is built from top to bottom, but viewing on the horizontal we see that the labour of laying brick by brick and the labour of laying word by word are the same labour, or at least analogous labours. On the horizontal table the relationship between objects and language is co-operative, each operating on the other, each opening and redefining the other on the delimited space of the table. “I will remember you my table, table that was my table, any table, any old table,” writes Ponge of the object whose presence has written this book, but which still remains a presence beyond the language he uses to reach towards it (and he reaches closer to an object than language ordinarily can reach). “I let you survive in the paradise of the unsaid,” he says. Language can be stretched but not escaped. “We are enclosed within our language … but what a marvellous prison,” writes Ponge. |
NEW RELEASES
Our Book of the Week, Bug Week by Airini Beautrais, has just been awarded New Zealand's premiere fiction prize, the Jann Meddlicott Acorn Prize for Fiction at the 2021 Ockham New Zealand Book Awards. On awarding the prize, the judges said, "Casting a devastating and witty eye on humanity at its most fallible and wonky, this is a tightly wound and remarkably assured collection. Atmospheric and refined, these stories evoke a strong sense of quiet unease, slow burning rage and the absurdly comic." We agree!
Find out about the books celebrated in the 2021 OCKHAM NEW ZEALAND BOOK AWARDS!
Read the judges' citations below and click through to our website to obtain your copies.
JANN MEDLICOTT ACORN PRIZE FOR FICTION
Bug Week, And other stories by Airini Beautrais (Victoria University Press)E.H. MCCORMICK PRIZE FOR GENERAL NON-FICTION
CULTURE SALE. Some excellent books are clamouring for a spot on your shelves, and to make this easier we have reduced the prices on a selection of books on art, literature, architecture, design, cooking, music, photography, and graphic novels. >>Make your selection now (first in, first served—single copies only are available at these prices for most titles).
BOOKS @ VOLUME #228 (7.5.21)
Read our NEWSLETTER and find out what we've been reading and recommending.
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The Outlaws Scarlett and Browne by Jonathan Stroud {Reviewed by STELLA} Wanted for audacious crimes across England: a sassy young woman adept at robbing banks, outwitting the law, dealing with the Faith and keeping the Tainted at arm's length, not to mention the beasts in the Wildness and the other hustlers in the Surviving Towns. This is the wild west of a dystopian and flooded England. London is covered by water — and at the centre of this lagoon are the Free Isles, while the rest of the country has reverted to wildness and walled towns with strict codes of conduct. The unusual and challenging are not wanted: others are cast into slavery and the Council of the Faith is all-powerful in rhetoric and financial dealings. We meet Scarlett McCain just after she has pulled off a bank robbery and is escaping by taking a route through the wild lands. The trick is to get through and out before darkness falls, evading her pursuers who won’t dare follow under the stars. The problem is she is sidetracked by a bus that has crashed into the woods and the sole survivor, a hapless teen boy, Albert Browne. Help the boy (get him back to the road) and still have time to make it through the trees. This plan doesn’t pan out. The boy is even more mysterious than the evasive Scarlett and some things about the crash and where Albert comes from don’t add up, and now they have pursuers on their tail that aren’t so scared of the beasts coming out to hunt. Scarlett now has a seemingly useless companion with her as she travels cross-country, trying to outrun an enemy she doesn’t know. Let's just say there will be gunshots, wounds, jumping off a cliff, and almost drowning in a river. And, most oddly, pursuers in jackets and bowler hats (sinister!) are after Albert. But why? As they travel together, despite Scarlett’s threats to ditch him (trouble follows Albert and maybe Albert makes trouble), a frightening spectre is rising, and a woman who won’t give up on her desire to recapture Albert enters the picture. While Scarlett puzzles Albert’s abilities, strange as they are, and questions her sanity in sticking with him, she’s also drawn to this unusual young man trying to find a place to belong in this strange, and often uninviting, new world. Putting their faith in a grizzled and grumpy old seafarer (travelling the waterways with his mute granddaughter), his ‘trusty’ boat and his knowledge of the rivers and byways they head in search of the Free Isles where Albert hopes to find a new home. It won’t be plain sailing, at all. There are plenty of twists and turns, daring adventuring and an exciting plot to entice you into this new intriguing world and keep you hooked, wanting more. The first in a new series from the author of 'Lockwood & Co.' (and if you haven’t read these you have been missing out), The Outlaws Scarlett and Browne is mesmerisingly good, their world is fascinating, and Stroud doesn’t miss a beat in laying down some great challenges: climate change, species mutation, psychological manipulation, and power struggles as well as more endearing qualities of humanity in bravery, loyalty and friendship — for his characters as well as the reader. |
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Old Masters by Thomas Bernhard {Reviewed by THOMAS} It is very tiring to get everything done properly, he said, it is exhausting and, really, a waste of time to get everything done properly, but it is just as exhausting and just as much a waste of time to get everything done not properly, to do a mediocre job, so to speak, he said. As not doing anything at all does not seem to be an option available to me, despite its attractions, he said, as doing nothing is fraught with its own existential dangers, so to call them, I may as well do everything properly, he said. This is a terrible trap. I will exhaust myself and waste my time whether I do things properly or not, nobody will notice whether I do things properly or not, I am uncertain if I can tell whether I am doing things properly or not myself, but they would notice if I do nothing at all. Perhaps what I call properly is in fact mediocre, I aspire to the mediocre but fall short, or I aspire to excellence and fall short, it makes no difference, I fall to the same point, somewhere below the mediocre, far below excellence, I fall to my place in the order of things whether I aspire to the mediocre or to the excellent, I may as well aspire to excellence, whatever that means, and fail more grandly, he said, though he was unsure if this failure was more grand or more pathetic. He had, he said, entertained the intention, at least briefly, of writing a proper review of Old Masters by Thomas Bernhard, he had been rereading Old Masters not merely but at least partly for the purposes of writing this review, and he had even, while researching this review or this book, discovered what seemed to him to be a video game in which he could move around the galleries of the Kunsthistorisches Museum in Vienna, although there were some galleries he could not enter for some reason, perhaps he had to advance to another level or perhaps he was just clumsy, avoiding the gallery attendants, searching for the location in which almost the entire book is set: the bench facing the painting White-Bearded Man by Tintoretto. Using the navigation arrows provided for the purpose by Google, he found, the player of the game can become well acquainted with the endless parquet flooring of the Kunsthistorisches Museum, with the marble staircases and gilded cornices and door-frames of the Kunsthistorisches Museum, and with much of what Reger, the dominant voice if not the narrator of Bernard’s book, dismisses as its collection of “Habsburg-Catholic state art. The Kunsthistorisches Museum is entirely in line with the artistic taste of the Habsburgs, who, at least where painting is concerned, had a revolting, totally brainless Catholic artistic taste,” writes Bernhard as Atzbacher quoting Reger, Atzbacher being the book’s narrator, even though pretty much all he does is quote what Reger has at some time said. He must concentrate on his review, he thought, I am determined to write a proper review, he said aloud, forgetting that he had already reviewed the book with a proper review, or in any case something slightly closer to a proper review than what he felt himself now capable of, not that that is saying much, some years before. Old Masters is an entirely musical book, he wrote, starting at last in a sensible way, despite being set in a painting gallery it is entirely musical both in its phrasing and in its structure, if there is a difference between the two, he thought, drifting from the task, the musical form of the book is what matters, he wondered if he could say the form is all that matters, that form is all that ever matters. Old Masters is narrated in one unbroken paragraph by Atzbacher, about whom we learn little, he wrote, but the voice that reaches us is the voice of Reger, an elderly music reviewer, who has arranged to meet Atzbacher on their regular bench in front of the White-Bearded Man but on an irregular day, they normally meet there on alternate days only. Atzbacher arrives early in order to watch Reger waiting for him from the next room, and the first half of the book consists of Atzbacher telling us what Reger has previously told him, of Reger speaking through Atzbacher, so it seems, just as Reger also speaks, as Atzbacher notes, through the museum attendant Irrsigler: “Irrsigler has, over the years, appropriated verbatim many, if not all, or Reger’s sentences. Irrsigler is Reger’s mouthpiece, nearly everything that Irrsigler says has been said by Reger, for over thirty years Irrsigler has been saying what Reger has said. If I listen attentively I can hear Reger speak through Irrsigler.” As with Irrsigler so with Atzbacher, he thinks, Atzbacher seemingly unaware of the irony. Old Masters is a very funny book, he thinks, Reger’s reported opinions amount to a stream of invective against pretty much everything held in esteem in the society in which Reger lives, and in which Bernhard lived, separated as they are only be tense, admiration, after all, being for Bernhard a form of mental weakness. “There has virtually been no culture in Vienna for a long time, and one day there will really be no culture of any kind left in Vienna, but it will nevertheless be a cultural concept even then. Vienna will always be a cultural concept, it will more stubbornly be a cultural concept the less culture there is in it,” writes Benhard as Atzbacher as Reger and perhaps again as Bernhard. Well, he thought, as with Vienna so with Nelson, though I will not write that down, he thought. Heidegger, Stifter, Bruckner, Vienna’s public lavatories, restaurants, politicians, all are derided in the most amusing fashion and at length, he wrote, in this first section, in the words of Reger as remembered by Atzbacher as he watches Reger waiting for him to arrive. This might even be Bernhard’s funniest book, he thought, the way Reger’s ridicule surges through it, builds and collapses. When Atzbacher keeps his appointment with Reger, Reger’s rants continue via Atzbacher, but at one step less remove, the rants continue but the tone changes, subtly, Old Masters might be Bernhard’s both least and most subtle book, he thought, the least subtle because of Reger’s ranting but the most subtle because of the modulation in that ranting, all in this one paragraph, the rant no longer filtered by Atzbacher’s memory is more extreme, nastier, less enjoyable, clumsier, is the fact that I can go along with Reger’s rants in the first half a mark against me, he wondered, and if so am I redeemed by being put off when we meet Reger himself in the second, so to speak, when we meet Reger in the raw, so to speak, he wondered, and Atzbacher intercuts what Reger says to him at this time in the gallery with recollections of what Reger has said to him previously at the Ambassador cafe, and the depth of Reger’s unhappiness since the death of his wife is expressed in sequences of sentences, each ending “...Reger said at the Ambassador then,” repeated like sobs, and the unhappiness flows through and gives depth to the rest of the book, which principally concerns the difficulties of carrying on living is a world devoid of value, Old Masters is perhaps Bernhard’s funniest book and his saddest. “Oh yes, Reger said, the logical conclusion would invariably be total despair about everything. But I am resisting this total despair about everything, Reger said. I am now eighty-two and I am resisting this total despair about everything tooth and nail, Reger said.” Reger’s vitriol is a survival mechanism, he wrote, to despise is to survive, that is clumsily put, he thought, too clumsily put to write down. “One’s mind has to be a searching mind, a mind searching for mistakes, for the mistakes of humanity, a mind searching for failure. The human mind is a human mind only when it searches for the mistakes of humanity, Reger said. A good mind is a mind that searches for the mistakes of humanity and an exceptional mind is a mind that finds the mistakes of humanity, and a genius’s mind is a mind which, having found these mistakes, points them out and with all the means at its disposal shows up these mistakes.” Reger despises nothing more than old masters, so Reger says, and this is why he has sat on his bench at the Kunsthistorisches Museum every other day for thirty years. “Art altogether is nothing but a survival skill, we should never lose sight of this fact, it is, time and again, just an attempt to cope with this world and its revolting aspects, which, as we know, is invariably possible only by resorting to lies and falsehoods, to hypocrisy and self-deception, Reger said. … All these pictures, moreover, are an expression of man’s absolute helplessness in coping with himself and with what surrounds him all his life. … All these so-called old masters are really failures, without exception they were all doomed to failure.” Our obsession with art, he thought, if we have an obsession with art, or with celebrity, if we have that, or with sport performers, so to call them, or with wealthy people, or actors, or singers, is not with how these apogees of achievement are more successful than us, more skilled, more wonderful, more spiritual even, whatever we mean by that, but with the flaws, the weaknesses, vices and misfortunes that make them like us after all, failures, and we are reassured that not even great success, however that is measured, not even great skill, not even great fame would stop us from being failures, and so we need not therefore even strive for these things, they would not in any case save us, so to speak. When the worst happens, though, we are devastated but it is not true to say that we do not also feel relief, and this is the saddest thing of all, he thought. “Reger was looking at the White Bearded Man and said, the death of my wife has not only been my greatest misfortune, it has also set me free. With the death of my wife I have become free, he said, and when I say free I mean entirely free, wholly free, completely free, if you know, or if at least you surmise, what I mean. I am no longer waiting for death, it will come by itself, it will come without my thinking of it, it does not matter to me when. The death of a beloved person is also an enormous liberation of our whole system, Reger now said. I have lived for some time now with the feeling of being totally free. I can now let anything approach me, really anything, without having to resist, I no longer resist anything, that is it, Reger Said.” Atzbacher accepts the ticket Reger offers him to attend a performance of Kleist’s The Broken Jug, a work also mocking human faillings, at the Bergtheater that evening, but, Atzbacher says, “The performance was terrible,” ending the book with the first opinion he has expressed that might be his own, though, given the formative influence of Reger upon him, can any opinion be his own, can anyone’s opinion anyway be considered their own, he wondered. I will give up on this review, he decided, I cannot write the review properly he realised, whatever could constitute properly, perhaps I could have done so once but I can do so no longer, at least not today, the only day I have to write it, he thought, my mind no longer performs in that way. He had spent a long time playing the Kunsthistorische Museum game but he could not find the painting of the White Bearded Man. |
Book of the Week: No-One is Talking About This.
NEW RELEASES
For most of the approximately 300,000 years that Homo sapiens have existed, we have shared the planet with at least four other types of humans. All of these were smart, strong, and inventive. But around 50,000 years ago, Homo sapiens made a cognitive leap that gave us an edge over other species. What happened? Since Charles Darwin wrote about 'evolutionary fitness', the idea of fitness has been confused with physical strength, tactical brilliance, and aggression. In fact, what made us evolutionarily fit was a remarkable kind of friendliness, a virtuosic ability to coordinate and communicate with others that allowed us to achieve all the cultural and technical marvels in human history.
"Brilliant, eye-opening, and absolutely inspiring—and a riveting read. Hare and Woods have written the perfect book for our time." —Cass R. Sunstein
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The Writing of the Disaster by Maurice Blanchot {Reviewed by THOMAS} “The disaster ruins everything, all the while leaving everything intact.” The Writing of the Disaster concerns the effect upon language, upon literature, so to call it, of what Blanchot, thinking particularly of the Holocaust, calls the Disaster: something beyond the reach of language yet sucking language towards it to the ultimate nullification of the meaning that language is usually thought to bear. The disaster does not concern itself with content, the disaster possesses the writing and is not and cannot be the subject of the writing. The writing of the disaster is not so much writing about the disaster as writing in the force-field of the disaster: The Writing of the Disaster concerns itself with the ways in which trauma takes ownership of writing. The ‘of’ in the title signals possession in the same way, perhaps, that all objects possess their subjects and by this relationship contend with them for agency. The disaster is a grammatical phenomenon, a loss of agency through grammar, a relation between elements rather than an element itself. Blanchot is remarkable for identifying the shifts of agency that result from grammatical alteration. It is in grammar, perhaps, that our problems lie, and it is in grammar, perhaps, that we must agitate for their solution. But it is in the nature of the disaster to protect itself with our passivity. “We are passive with respect to the disaster, but the disaster is perhaps passivity.” The disaster robs the writer of agency, cauterises meaning, averts all gazes and renders the usual useless. As Blanchot demonstrates, writing in the ambit of the disaster can only proceed in fragments. Failure and incompletion are both results of and assaults upon the impossible. “It is not you who will speak; let the disaster speak in you, even if it be by your forgetfulness or silence.” When writing of the reading of the writing of the disaster, the semantic degeneration of the disaster exercises itself even through the intervening writer, rendering them transparent. To re-read a passage of Blanchot is to read without recognition, to entertain thoughts quite different from, and rightly quite different from, those entertained on the first reading, or prior readings, of that passage. Thinking about reading about Blanchot writing about how the disaster affects everything but cannot be perceived, I write, “The disaster is that no distinction can be made between disaster and the absence of disaster,” but I cannot determine where this sentence comes from. I cannot find it in Blanchot's text. Whose thoughts are those thoughts thought when reading? If the thoughts cannot be located in the text, are they then the thoughts of the reader? If the thoughts would not have been thought by the reader without the text, to what extent are they the writer’s thoughts? (Do not ask if these thoughts are in fact thoughts. Let us call thought that which does the work of thought, regardless.) Blanchot proceeds around, or towards, the disaster in a fragmentary style, aphoristic but without the sense of completion aphorisms provide, he writes koans, or antikoans, that do not prepare the mind for enlightenment so much as relieve the mind of the possibility of, and even the concept of, enlightenment. Taken in small doses Blanchot is full of meaning but as the dose increases the meaning becomes less, until at the point of his complete oeuvre, we can extrapolate, Blanchot means nothing at all. This liberation from semantic burden is entirely in accord with Blanchot’s project, so to call it. |
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Interior Chinatown by Charles Yu {Reviewed by STELLA} “All the world’s a stage, And all the men and women merely players; / They have their exits and their entrances; And one man in his time plays many parts.” —William Shakespeare (As You Like It) While Shakespeare went on to describe the seven stages of man, Charles Yu takes a slightly different trajectory. The stage is America, more specifically Chinatown. The players are the actors in a typical cop show (ironically titled Black and White) and the residents of the SRO (Single Room Occupancy) housing apartment. And our main man is Willis Wu, son of Taiwanese immigrants, working his way up the ladder. Seven stages — a countdown from five to one (Background Oriental Male, Dead Asian Man, Generic Asian Man Number Three/Delivery Guy, Generic Asian Man Number Two/Waiter, Generic Asian Man Number One), and then, if you are lucky, very lucky — Very Special Guest Star, and for the few, the ultimate role — Kung Fu Guy. Interior Chinatown, Yu’s fourth book, which won the National Book Award for Fiction in 2020, uses a television series script as the structural device to look into the real lives of Asian Americans and the stereotypes that ring-fence them as ‘other’. As in Yu’s early books (his short story collection from 2006, Third Class Superhero, is endlessly memorable), he uses clever set-ups and sardonic wit to take you on an entertaining journey that is actually filled with frustration, sadness and, in the case of Interior Chinatown, a searing elucidation of racism. Willis Wu is an actor, hoping for the big time — a chance to become Kung Fu Guy. He’s the ‘Asian’ in the GTV series Black and White (featuring Turner — the tough smart Black cop, and Green — the sassy sharpshooting (from the lip as much as the hip) White female cop) — starting as Background Guy but also next up a corpse. After being a corpse, he has to take a "rest time". No-one will notice when he comes back as a new guy — after all, he is Generic Asian Man. He gets his real breakthrough when his character becomes integral to solving a crime in Chinatown. “It’s a cultural thing,” Green lets Black know. Yet as Willis moves up the ranks he finds himself disenchanted by his (and everyone else who lives in the SRO) obsession, from childhood (all that practice!), with becoming Kung Fu Guy. This could have been just a silly and entertaining story about a TV script, but this is where Yu does something very clever — he moves us between reality and fiction, mingling Willis’s life on the screen with his life (and those of his family and community) as an Asian man in America. The backstories of his parents and their arrival in America alongside the acting careers (are they workers in the Chinese restaurant downstairs or actors in the TV series working in the Golden Palace — or a bit of both?), the lives of the residents of the SRO, sometimes they are suffering the heat, the bad piping and cramped quarters while at other times they a bit part actors on the screen, the story of Willis meeting his wife-to-be through their acting roles, art imitating life and vice versa. Plenty of meta-narrative playfully executed and effectively used to grapple with the issues Charles Yu is exploring, along with his own personal histories. What does it take to be seen as American? Why are the stereotypes so entrenched? And how can Willis Wu find out who he really is in a society with rigid expectations of “Generic Asian Man”? Immensely enjoyable, unflinching in its assessment of racism and endlessly memorable. |
Our Book of the Week was awarded the 2020 US National Book Award for Fiction for being immensely enjoyable, sharply written, and unflinching in its assessment of contemporary racism. Charles Yu's novel Interior Chinatown explores race, pop culture, immigration, assimilation, and escaping the roles we are forced to play, as Willis Wu strives to be something more than 'Generic Asian Man'—but what? Can Willis become the protagonist in his own life? A heartfelt, playful satire of Hollywood tropes and Asian American stereotypes.
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Fifty Sounds by Polly Barton $38Whether you're interested in new books or book news, you'll find both in our latest newsletter.
>> Read all Stella's reviews. | |
First Person Singular by Haruki Murakami {Reviewed by STELLA} Where does a writer go and where do they want to take us? In Murakami’s new collection of short stories, First Person Singular, the writer is teasing at the edges, walking us into situations that at first glance seem banal, then become unsettling, sometimes a little bizarre. This will be nothing new for Murakami readers—the pace of the unfolding tale and the direct, simple style with its surprising outcome and underlying pathos are all familiar tropes. In this collection Murakami is also talking to himself, reminiscing and sharing his passions. Music, jazz and classical, comes to the fore in several. 'Cream', the opening story, has a young man on the way to a piano recital by a young woman he barely knows (an ex-fellow student who he had let down by being a tardy musician), only to find himself sitting alone in a small park having a conversation with an elderly man. He has either been duped in an act of revenge or mistaken by date and time. Either way, he is somewhat flustered by the whole experience, left clutching a cheap bouquet of red flowers with little idea of why he went in the first place. In classic Murakami style, the book opens with this deceptively dull story. Later, thinking about it, your focus comes back to the elderly man—is this a future self giving advice or a chance encounter that will change the young man’s trajectory? Or maybe encounters like this don’t encompass as much as we would like them to? In 'Charlie Parker Plays Bossa Nova', Murakami is at his most playful, enjoying his obsession with jazz and playfully imaging and reimaging a role for The Bird beyond the grave. When Charlie Parker visits the narrator in a dream sequence Murakami segues into his style of magical realism which leaves the reader in no doubt that the character is playing out an internal conversation, while at the same time being convincingly ‘realistic' or believable. If you delve a little under this story, and others in the collection, it is obvious that Murakami is also thinking about the process of creativity, of writing. There are raw edges here too, especially those stories that deal with relationships. 'With the Beatles' relays a teen relationship—starting from an oblique point and sharpening into an uneasy story about depression and suicide. It has a lightness of touch that could be seen as almost trivial but underpinning this is the tragedy of being misunderstood or trapped within a moment. Many of the stories have this outwardly simple trajectory and try to relieve themselves of a complex plot cutting to the uneasy situations that arise between people, but more essentially within one’s own psyche. Touted as partly memoir—the narrator is an ageing writer, living in Japan, who loves baseball and music—it easily can be read as autofiction. Yet the inclusion of a talking monkey, the ‘ugliest’ woman and a surreal conversation with a dead musician, makes you wonder how much Murakami is inviting his past work and his readers into the world beyond the wall, into the well, and, as he says, into the ‘under basement’. Memoir-ish pieces maybe, but more another realm to explore writing, where it takes us and how far, and how it happens. Simple and complex in equal measure. |