Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia, who died...
A valediction from the noted Argentine writer, known for bringing the conventions of hard-boiled U.S. crime drama into Latin American literature.
L’ennui, c’est moi. First-tier Argentine novelist Piglia’s (Money to Burn, 2003, etc.) literary alter ego, Emilio Renzi, was a world-weary detective when he stepped into the spotlight in the claustrophobic novel Artificial Respiration, published in Argentina in 1981 and in the U.S. in 1994, a searching look at Buenos Aires during the reign of the generals. Here, in notebooks begun decades earlier but only shaped into a novel toward the end of Piglia's life, Renzi is struggling to forge a career as a writer. He has a lot going for him: he has the predisposition to what is, after all, “an obsession, a habit, an addiction,” and he has the capacity to endure the days and nights of endless boredom that the poverty of writing can yield, broken by piles of books and visits to the casino, where he wins a few pesos here and there. “I have, finally, lost my interior life,” he sighs, returning to the grind of reading philosophy and literature, thinking great thoughts about space and time, and taking in Bergman films. Were it not for the starvation, it might make an agreeable life, but as Renzi’s diaries unfold, it’s pretty clear why he might want to find regular work tracking down disappeared intellectuals and murdered trade unionists; apart from the gambling income, he’s got to chase down scant paychecks from universities and publishers and scrape by on anthologizing, forcing him into the indignities of stretching out invisible money to cover very visible needs. “Everything consists of assessing those pure instants, at times when life no longer makes sense,” he laments. The story takes a few detours into the meta—it’s a nice turn that Renzi, himself a fictional writer, learns “what I want to do from imaginary writers. Stephen Dedalus or Nick Adams, for example”—but is mostly straightforward, reading just like the diary it purports to be.
Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia, who died at the beginning of 2017.Pub Date: Nov. 7, 2017
ISBN: 978-1-63206-162-1
Page Count: 384
Publisher: Restless Books
Review Posted Online: Aug. 19, 2017
Kirkus Reviews Issue: Sept. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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