CategoryGerman

Peirene Press: Marzahn, Mon Amour by Katja Oskamp (tr. Jo Heinrich)

We’re going to Germany for this year’s first title from Peirene. Katja Oskamp’s narrator is in her mid-forties, which she imagines as swimming in the middle of a huge lake, with the past having receded but the future still out of focus. She feels she’s treading water:

My life had grown stale: my offspring had flown the nest, my other half was ill and my writing, which had kept me busy until then, was more than a little iffy. I was carrying something bitter within me, completing the invisibility that befalls women over forty. I didn’t want to be seen, but nor did I want to see. I’d had it with people, the looks on their faces and their well-meant advice. I sank to the bottom.

The woman decides that, if she’s going to be invisible to the wider world, she may as well make a major change for herself. She leaves behind her writing career and retrains as a chiropodist. She works out of a salon in the Marzahn area of Berlin, which was formerly part of the GDR. It’s the kind of place that could itself be overlooked, as could the narrator’s (often elderly or disabled) customers. One of the key things she does as a chiropodist is then simply to give her clients recognition. 

The novel as a whole does the same. Each chapter focuses on a different customer – and they’re a vivid cast, from Frau Frenzel whose life revolves around her dachshund, to Herr Pietsch, who was a party official in the GDR, but has had to adjust to a rather different way of life since. Marzahn, Mon Amour becomes a composite portrait of this community, one that works to make its characters visible – narrator and customers alike. 

World Editions: New Year by Juli Zeh (tr. Alta L. Price)

Life has scuppered several plans I had this month, including taking part in German Literature Month. Still, I’ve managed to read this, the latest novel by Juli Zeh. I have read Zeh once before, when I reviewed Decompression for Shiny New Books. Like that novel, New Year is set in Lanzarote – and it’s an interesting character portrait. 

Henning has taken his young family to Lanzarote for a surprise Christmas break. He might have been hoping to get away from life’s problems, but the trip soon creates issues of its own, such as another man flirting with Henning’s wife Theresa. 

On New Year’s Day, Henning resolves to make a new start, and cycles up into the mountains. The first part of the novel alternates between Henning’s bike ride and his reflections on the current holiday and his life. There’s a real sense here of the environment and Henning’s state of mind. 

We learn that Henning has panic attacks, caused by something buried in the past. When he reaches the summit of his ride, something about the place doesn’t feel quite right. A memory stirs – and, for the rest of the book, we see what happened in Henning’s childhood. In effect, New Year is structured like Henning’s bike ride: the journey to the top that maps out Henning’s present and recent past; and the exhilarating ride down again, as we discover just why Henning is the way he is. 

Published by World Editions

An Inventory of Losses – Judith Schalansky: a Splice review

Judith Schalansky’s An Inventory of Losses (translated from the German by Jackie Smith, and published by MacLehose Press) is a collection of stories, each inspired by something that has been lost to the world: buildings, species, artworks and more besides. Each piece is written in a different style, adding up to a multifaceted exploration of loss. It’s a beautiful looking volume, too.

I’ve reviewed An Inventory of Losses for Splice, where I go into more detail on a selection of the stories.

Read my review here.

Blog tour: Launch titles from V&Q Books

My post today is part of a blog tour for V&Q Books, the new English-language imprint from the German publisher Voland & Quist. The imprint is headed by the translator Katy Derbyshire, and is dedicated to writing from Germany. It’s not necessarily going to be limited to books translated from German, although the first ones are. V&Q offered me review copies of their first three titles, and I take a look at each below…

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Sandra Hoffmann, Paula (2017)
Translated from the German by Katy Derbyshire (2020)

Paula begins like this:

We have a word in German: schweigen. It means deliberately remaining silent; it is different to merely being quiet.

This autobiographical work explores the effects such a deliberate silence may have on a family. The young Sandra Hoffmann knew that she and her mother looked different from other people in her village – darker-skinned – but she didn’t know who her grandfather was. Her grandmother Paula, a staunch Catholic, refused to say.

This isn’t a story of Hoffmann discovering her grandfather’s identity. It’s a study of the gaps left behind and what might fill them. Hoffmann goes over the many photographs that Paula left behind, and imagines the scenes and people in them.

The silence – the schweigen – permeates the book, spreading through its long passages. The oppressive effects of the silence on family life, in Hoffmann’s childhood and down the years, are vividly conveyed.

Lucy Fricke, Daughters (2018)
Translated from the German by Sinéad Crowe (2020)

Daughters is the story of two women – old friends – trying to find their place in life at age forty, and to deal with the loss of a father-figure.

For Martha, this loss is imminent: her father has booked an appointment for a one-way journey to Switzerland, and wants her to drive him. Betty wants to visit Rome to find the grave, not of her biological father (with whom she has little to do), but an ex-partner of her mother’s, an Italian she remembers as “the Trombonist”. Martha and Betty embark on a road trip across Europe with these intentions in mind. But both of them will find that the situation is not as they imagined, and their relationships will be tested.

Lucy Fricke’s novel is full of wry humour that makes it a pleasure to read:

We were the daughters of fathers who’d only found time to talk to us after they’d retired. We explained the internet to them and they explained the weather. Their love came so late that we barely knew what to do with it. We just accepted it with gratitude. But we had little to give, and nothing at all to give back.

Sinéad Crowe’s translation is wonderful: so often, I found myself stopping at a striking turn of phrase. The plot veers off in unexpected directions… This book is a joy.

Francis Nenik, Journey through a Tragicomic Century (2018)
Translated from the German by Katy Derbyshire (2020)

This non-fiction volume is subtitled “The Absurd Life of Hasso Grabner”. Grabner (1911-76) was a writer, albeit an obscure one – Francis Nenik says that he wanted to write about a forgotten author, and there was barely anything about Grabner online at the time he looked.

The reason Grabner’s life is described as absurd has to do, I think, with its apparent contradictions. He was a committed young communist who ended up being awarded an Iron Cross by Germany for his military service. He was director of a steelworks in the GDR whose writing was banned.

As with Fricke’s book, there’s a wonderfully wry undercurrent – a fine translation by Katy Derbyshire:

And Hasso Grabner? Not only is he part of the grotesque named history and always precisely where it is being made; he is also co-writing it, even though he doesn’t know the script, and history is more than slippery, what with it only ever coming about when it’s already happened…

You can watch a reading from Journey through a Tragicomic Century here.

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All in all, this set of books is a strong start for V&Q Books (I like their series cover design as well). I look forward to seeing what else they have in store for us.

Books of the 2010s: Fifty Memories, nos. 10-6

Now we come to the top 10 books in my list of memorable reading moments. I wanted to say a bit more with these, so I’ve split the ten in half. The top 5 will be up next Sunday, but for now, please enjoy numbers 10 through to 6. These are all books I have never forgotten, and doubt I ever will.

You can also catch up on previous instalments of this project here: 50-41, 40-31, 30-21, 20-11.

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Books of the 2010s: Fifty Memories, nos. 30-21

We’re now halfway through my list of reading highlights from the 2010s. I’ve really enjoyed compiling this list and reminiscing about some beloved books. Let me know if you’ve read any.

You can also read my previous instalments, nos. 50-41 and 40-31. Now, on to the next ten…

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#InternationalBooker2020: Melchor, Kehlmann, Azar

A selection of titles from the International Booker Prize longlist

Fernanda Melchor, Hurricane Season (2017)
Translated from the Spanish by Sophie Hughes (2020)

Hurricane Season is an appropriate title for a novel that roars into the unsuspecting reader’s mind, with its long and winding sentences, and its refusal to flinch from the brutalities of its world.

Set in a Mexican village, Melchor’s book begins with the murder of a woman known as “the Witch”, whose house is rumoured to hide a stash of treasure. Subsequent chapters unpeel the events that led to the killing, and show the dark realities of life in this community.

It’s a powerful translation by Sophie Hughes, and a novel that’s not soon forgotten.

Daniel Kehlmann, Tyll (2017)
Translated from the German by Ross Benjamin (2020)

Tyll Ulenspiegel, the main character of this novel, is based on a trickster figure from medieval German folklore. Kehlmann brings him forward in time to the Thirty Years’ War (1618-48). Tyll escapes the childhood village where his father is accused of witchcraft, and as an adult becomes a travelling entertainer and court jester.

Kehlmann’s novel is at its best when Tyll is at centre-stage, the prankster who breaks through the superstitions and mores of his society. When he isn’t front and centre… well, it probably helps to know about the historical background. Overall, though, Tyll is engaging and enjoyable. ⁣

Shokoofeh Azar, The Enlightenment of the Greengage Tree (2017)
Translated from the Persian by an anonymous translator

Following the 1979 Revolution, Bahar’s family were forced to flee Tehran for the small village of Razan, seeking to maintain their intellectual freedom, and at least some sort of continuity in life.

But the authorities catch up with them eventually. As the novel begins in 1988, Bahar’s mother has climbed a greengage tree and apparently attained enlightenment. At the same time, Bahar’s brother has been executed elsewhere. Brightness and brutality are intermingled in the text. ⁣

Azar’s novel is full of stories within stories, and the supernatural is never far away (even Bahar, our narrator, is a ghost). It’s compelling to read, delightful and powerful in equal measure.⁣

A Peirene Press round-up

Claudio Morandini, Snow, Dog, Foot (2015)
Translated from the Italian by J Ockenden (2020)

Peirene’s series theme for 2019-20 is ‘Closed Universe’, and this first title takes us into the troubled mind of one old man living in the Alps.

Adelmo Farandola (always referred to by his full name) spends the winter up in the mountains away from people, and the summer even further up in the mountains. When we meet him, he goes down to the village to stock up on supplies for the winter. The shopkeeper is surprised to see him because (she says) he visited only last week. Adelmo has no memory of that.

For most of Morandini’s novel, it’s just Adelmo, his dog, and the young ranger who goes by from time to time. Adelmo is snowed in for months, then has to decide what to do when he sees a foot poking out of the snow.

What makes Snow, Dog, Foot so compelling is the ambiguity running through it. Reality is fluid for Adelmo, so there’s no fanfare when (for example) the dog starts talking to him, because that’s just the way things are. Adelmo has complete trust in his senses, which means we have constant mistrust. The book grows ever more poignant as the layers of perception peel away and we understand what’s happening.

Emmanuelle Pagano, Faces on the Tip of My Tongue (2012)
Translated from the French by Jennifer Higgins and Sophie Lewis (2019)

Part of Peirene’s ‘There Be Monsters’ series, this is a collection of linked stories set in rural France. These are vivid tales of character: the hitchhiker who stands in drivers’ blind spots. The old man near the holiday rental who’ll tell stories of the local area to anyone who will listen. The father remembering his daughter’s childhood through an old jigsaw puzzle.

Characters and images recur, not least the roads that link up places but also lead away from them. The repeating references to individuals and events serve to remind how small a community can be. But the details of the stories reveal how even familiar faces may be unknown or forgotten.

Birgit Vanderbeke, You Would Have Missed Me (2016)
Translated from the German by Jamie Bulloch (2019)

Another title from the ‘There Be Monsters’ series. Vanderbeke draws on her own childhood for this tale of an East German refugee trying to settle into West German society in the 1960s.⁣

I particularly like the childlike tone of the narration: the hurried gabble of this happened and then that and this and you know what else, as though the narrator wants to tell us everything.⁣

My favourite books read in 2019

The end of the year has come around again, so it’s time to look back. Going through my list of books read this year has brought back some happy memories, so here are my twelve favourites. As ever, the list is in rough descending order of enjoyment, but they’re all warmly recommended.

12. The Perseverance (2019) by Raymond Antrobus

I’ve been dipping my toes into the world of poetry this year. Antrobus’ highly personal collection – which explores themes of language, communication and family relationships – stood out to me. A worthy winner of the Young Writer of the Year Award.

11. Tamarisk Row (1974) by Gerald Murnane

I’ve never read a novel that evokes childhood imagination quite like this. A boy in 1940s Australia imagines hidden worlds in the abstract patterns of everyday reality (such as the play of light through glass). The raw, deep feelings of growing up are made vertiginous in Murnane’s prose.

10. Notes to Self (2018) by Emilie Pine

A collection of personal essays in which the act of writing seems at least as important to the writer as what she’s writing about. Pine is unflinching as she explores issues of the (her) family, body and self. The sense is that she’s taking the stuff of her life apart and building it anew.

9. The Years (2008) by Annie Ernaux
Translated from the French by Alison L. Strayer (2017)

An account of the mid-to-late 20th century whose writing stopped me in my tracks. The narrator’s personal history plays out against and within the broader passage of time. I was particularly struck by the way the text changes shape to reflect different ways of knowing and remembering – stories giving way to fragments of information.

8. The Drover’s Wives (2019) by Ryan O’Neill

Possibly the book that was the most pure fun to read this year. The Drover’s Wives consists of a classic Australian short story retold in 101 different ways, from ‘Hemingwayesque’ to ‘A 1980s Computer Game’ and even a chart of paint swatches. O’Neill brings out different sides to the original story, and though there’s a lot to smile about, there are some poignant moments too.

7. The Cheffe (2016) by Marie NDiaye
Translated from the French by Jordan Stump (2019)

The very last book I read before compiling this list, but one that made a considerable impression. It’s the tale of an elusive culinary genius through the eyes of a former employee who thinks he has insight into her that may be the product of obsession. The ‘double remove’ between us and the Cheffe makes the novel so tantalising.

6. Strike Your Heart (2017) by Amélie Nothomb
Translated from the French by Alison Anderson (2018)

Nothomb takes my ‘should have read this author sooner’ slot for the year. This novel is a short, sharp, 360-degree view of its protagonist’s female relationships, from her jealous mother to the assistant professor who may not be as much of a friend as she appears.

5. Transfer Window (2017) by Maria Gerhardt
Translated from the Danish by Lindy Falk van Rooyen (2019)

Talking of short and sharp… This is the piercing portrait of a terminally ill young woman who has moved to a wealthy suburb of Copenhagen, recently turned into a hospice. Transfer Window is harrowing in its sense of life cut short. Inside the hospice, the protagonist’s old life slips away: for everyone outside, life goes on.

4. The Artificial Silk Girl (1932) by Irmgard Keun
Translated from the German by Kathie von Ankum (2002)

Doris is a secretary with dreams of being a star; she leaves her job and travels to Berlin, where she finds that life’s pendulum may swing in a different direction without warning. Doris’s voice is compelling as the world shifts around her. There are moments of joy, but also signs of the darkness that was to come – signs that seem all the more pronounced from this historical distance.

3. Nocilla Lab (2009) by Agustín Fernández Mallo
Translated from the Spanish by Thomas Bunstead (2019)

The final part of Fernández Mallo’s Nocilla Trilogy, and my personal favourite. We follow a version (or versions) of the author on a trip to Sardinia, through four sections written in different styles. The question becomes, can we trust the narrator to be the same individual throughout? The sense of a single coherent ‘I’ grows ever more fragile.

2. Follow Me to Ground (2018) by Sue Rainsford

A novel of genuine strangeness that gains power from refusing to explain itself. Ada and her father heal people, but exactly what they do (or even what they are) is a mystery to us. When Ada falls in love with one of her “Cures”, this threatens to upend her entire existence… and that core of mystery gnaws away all the while.

1. Berg (1964) by Ann Quin

I first heard about this novel ten years before reading it, and eventually got to it at just the right time. I was expecting the prose to require some concentration, but I wasn’t expecting the book to be so funny. Quin’s hapless protagonist goes to the seaside intending to kill his father in revenge, but finds he can’t actually go through with it. Events descend into outright farce… and I found a new book to treasure.

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So, that was my 2019. How was your reading year?

If you’d like to catch up on previous yearly round-up, they’re here: 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, and 2009. Thank you for reading, and I’ll see you next year on Instagram, Twitter, Facebook or here.

“I’m going to be a star, and then everything I do will be right”

Irmgard Keun, The Artificial Silk Girl (1932)
Translated from the German by Kathie von Ankum (2002)

Meet Doris:

And I think it will be a good thing if I write everything down, because I’m an unusual person. I don’t mean a diary – that’s ridiculous for a trendy girl like me. But I want to write it like a movie, because my life is like that and it’s going to become even more so. And I look like Colleen Moore, if she had a perm and her nose were a little more fashionable, like pointing up. And when I read it later on, everything will be like at the movies – I’m looking at myself in pictures.

Doris’s voice comes at us in this beguiling tumble of sentences (a wonderful translation by Kathie von Ankum), as though she’s creating her thoughts and life as she goes. In a sense, she is: she’s a secretary in a “mid-size town” in Germany of 1931, who dreams of being a star and drifts from lover to lover as the tides of circumstance carry her. She’d like love, but equally she is pragmatic about the whole thing. Doris leaves her job when her boss gets the wrong idea about her (she asks him: “How can a highly educated man like yourself be so dumb to think that a pretty young girl like myself would be crazy about him?”). She joins the theatre, doing whatever she can to get ahead – such as pretending that she’s in a relationship with the director, so as to increase her importance in the eyes of others.

Presently, Doris decides it’s time to leave for Berlin. The big city is dazzling – there’s a wonderful sequence in which Doris takes a blind neighbour on a tour, describing what she sees, and the sense of delight and wonder for both of them is palpable. But the extremes of high and low are greater in Berlin than the mid-size town, and life’s pendulum can swing without warning. For example, there is one scene in which Doris has met a wealthy businessman and is living a life of luxury in his apartment… Then, in the very next scene, his wife has returned from a trip, the man himself has been arrested, and Doris has had to sell below cost the few things she could salvage, just to go back to square one.

The Artificial Silk Girl was Irmgard Keun’s second novel, published the year before her books were banned by the Nazis (in 1936, she would go into exile). There are glimpses in the novel (mostly unnoticed by Doris) of changing social attitudes that prefigure what was to come. The Artificial Silk Girl is the story of a young woman trying to find a foothold in a world that constantly shifts around her; reading in the present day, we know only too well how fragile that world would be.

Elsewhere
Read other reviews of The Artificial Silk Girl at JacquiWine’s Journal and 1streading’s Blog.

The Artificial Silk Girl is published in the UK by Penguin Modern Classics and in the US by Other Press.

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