Category Archives: Review

Review: Marina Šur Puhlovski, Wild Woman

Translated from Croatian by Christina Pribichevich-Zorič (Istros Books, 2019).

Wild Woman is set in 1970s Yugoslavia, and we meet the narrator on the third day after the end of her marriage. She is holed up in her apartment, mess and disorder turning to filth and despair around her as she contemplates the three days that have passed since this cataclysmic event, and ponders her ability to leave the apartment and begin living again. Two stories unfold at once: the real-time story of a woman “falling apart at the age of twenty-six” and the story of her past self, the one who brought her to this place of abjection and whose life clings to her “like an amputated limb that still hurts.” The narrator is brittle, defensive and angry – and this makes for an explosive narrative that pulls no punches either in its exploration of human grief or in its indictment of a social system that leaves women without agency or autonomy. She falls in love and marries young – against her mother’s advice – but soon finds that the charming, attentive and soulful man she fell in love with was something of a con. Before long he is disappearing for long stretches of time with no explanation, and she is imprisoned in a marital role of acceptance and silence. When he falls ill, she discovers that a secret has been hidden from her, but by now she is shackled to a him, “a prisoner of this relationship,” forced to care for him and provide for him – she writes articles under his name – even though their relationship was built on deception.

Our wild woman is introspective enough to be self-deprecating: she wanted to make a man fall in love with her by the sweep of her skirt and the intensity of her expression – but simultaneously wanted this to be a true meeting of minds, a relationship that (as any self-respecting young existentialist in the 1970s would wish) emulates Sartre and de Beauvoir. Lofty ambitions, and she is not above poking fun at herself for having had them: “But like all stupid twenty-year-olds I had decided to get my way, because you’re indescribably stupid when you’re barely twenty and haven’t yet experienced anything except in your imagination, based on the stories you’ve read in books which you see as real, though they’re not, and you project yourself into the story as if it’s going to be yours…” With the perspective of her newly single state, she is able to see every point at which she was naïve, oblivious or overly forgiving – but this is not a story of self-flagellation, for her greatest disdain is rightly reserved for her “beloved”, her “one and only” – a man never named, but only called by various terms of endearment which, with the benefit of hindsight, are dripping with irony and contempt.

The first thing that struck me about both the story and the translation was the length of the sentences: there is a breathlessness here – not a vapid one, but rather one that conveys the narrator’s need to vent her anger after a lifetime of censorship, an outpouring which mostly happens in multiple clauses that crash urgently towards a conclusion. This must have been quite a challenge to translate: the information structure as well as the syntax may shift between languages, and content-wise there was a lot to keep on top of within each sentence. Christina Pribichevich-Zorič has pulled it off superbly, though, keeping the narrative voice consistent in both cadence and tone and revelling in a variety and depth of vocabulary that was a joy to read.

Another strength of this novel is the cast of unremittingly loathsome supporting characters. From the widowed mother – beleaguered by poverty under communism and the loss of her deceased husband’s meagre pension – who can summon up compassion for almost anyone but her own daughter (“Poor man, my mother whispers in my ear, my mother for whom everybody is always poor except me”) to the excruciatingly awkward best friend hopelessly in love with the narrator and the feckless, self-absorbed man she chooses to marry, there is a humanity to every character (though mostly showcasing the less pleasant side of humanity, it must be said). Even the memory of the narrator’s dead father is no comfort: he beat her throughout her life, and after his death she promptly moved her husband into the family home “as if I couldn’t live without being hit.” But don’t feel exasperated with her if a negative cycle is perpetuated, for in her world “women don’t choose.” Trapped into silence by an older generation that thinks she must simply keep quiet and endure, she maintains the façade of a happy marriage and a fulfilled life even though her internal monologue reminds us that this is far from a truthful representation. She even goes as far as to call herself a madwoman – though to any discerning reader, it is clear where the real madness lies. Šur Puhlovski is not afraid to point this out, and has a penchant for doing it in a flash of lucidity at the end of a lengthy tirade: “My sense of direction is so bad that I wouldn’t know where I was even if somebody dropped me down in the middle of Republic Square, I’ve been known to say. People answer by saying that most women are like that, they have no sense of space. Interesting, because that means something, except, I wonder, why don’t women have a sense of space, or of time, because time is space, so maybe it’s because they have a sense of eternity.”

I was expecting the narrative to unfold in a slightly different way than it ultimately did: the hints at “going wild” had made me anticipate some sort of feral twist or return to nature via a rejection of “civilisation”, but in fact this is not what the “wildness” represents (and the story is better for that). The narrator is constrained in the society of her time, but must “shed the self-image they slipped on me like an invisible dress,” and  Wild Woman is the start of that transformation: it is a whirlwind ride inside the mind of a woman let down by society and by her own role within it – a ride with an uncertain destination, for she does not know if she will rise like a phoenix from the ashes of her past life, or simply turn to dust and disappear – but it’s well worth accompanying her for the stage of the journey she invites us to share.

Review copy of Wild Woman provided by Istros Books

Shards of memory: Colette Fellous, This Tilting World

Translated from French by Sophie Lewis (Les Fugitives, 2019)

The latest release from Les Fugitives is a work by French-Tunisian author Colette Fellous, offered in an elegant and articulate translation by Sophie Lewis. In This Tilting World, Fellous explores different dimensions of grief and loss: the sudden death of a friend, the terror attack on the beach at Sousse in 2015, and the exile from a home(land) that both is and is not hers. This is an intimate farewell to parts of Fellous’ life that she loved and can never fully possess or experience again: the recent loss prompts her to reflect on her relationship with her deceased father, and to write a fragmentary novel, a “nocturne” that pays tribute to people she loved, people she never knew, a country that she can never truly leave behind, and a figurative home in literature.

In This Tilting World Fellous draws together her father’s life during the twentieth century, the Tunisia of her childhood, and the changed world of the twenty-first century with its institutionalisation of terror and fear, describing the project within its own pages as an attempt to “tell the story of a father born and dead in the twentieth century, and the story of this world now, this Tunisian village I shall have to leave behind, in this year 2015, a terrifying year, remorseless, in its new, 21st-century colours.” The fragments of text move between past and present, but also beyond rigid notions of time as Fellous blends events and memories from different periods into one narrative experience. She layers terror attacks so that their impact is felt simultaneously, imagines her father as both a deceased adult who has left her adrift and a newborn child who she must protect, and unites her personal experience with a collective or universal one: “my novel is damaged, the world is damaged, I too am deeply wounded.” If her homeland is ravaged so too is she, as her country and her generation witness the birth of “a new kind of warfare, and this terror that is taking root everywhere, even in our own bodies.”

The embodiment of terror – encompassing both fear and exile – is echoed in several of the fragments. Fellous describes the terrorist at Sousse as having killed people “on my beach, our beach, on every beach”, showing a universality of experience (“every beach”) and a collective suffering (“our beach”) alongside her personal grief and loss (“my beach”). Though Fellous recognises that she is privileged to be able to give voice to this experience, she also expresses a desire for individuality (“I don’t want to join any group, I want to see life with my own eyes, I want to be free”) and a yearning for selfhood alongside her reflections on writing, on creativity, and on the ways in which pain can inspire art. This longed-for freedom from prescribed views or distinct communities also represents a freedom from past silence: Fellous attempts to understand her father, and in particular to understand the silence that he transmitted to his children. She acknowledges that with this silence he had hoped to protect them from knowledge of his own suffering, rooted in its historical time of “betrayal, brutality … the camps”, but ultimately the father’s silence imprisons his children in a false innocence, a not-knowing that Fellous seeks to redress through her writing. Her father’s fractured, multi-cultural past is intertwined with historical experiences of colonisation and exile, which represent “the rupture that he’d tried to minimise”: this rupture is woven into the substance of her prose, which is itself always fragmented. Indeed the original title, Pièces détachées, indicates this fragmentation with the rupture between generations, cultures and languages reflected in the ruptures between each shard of text.

Sophie Lewis translates with sensitivity and a depth of understanding of the intricacies of Fellous’ writing: literary references abound but are never heavy-handed; the family experience is understood through references ranging from 19th-century novelist Flaubert to Alain Renais’ holocaust film Night and Fog and many others in between; nouns and adjectives are coupled carefully to convey the wistful heart of the narrative (such as “entwined bodies” or even the title, “this tilting world”, echoed in the text) and the syntax is deliberately poetic (“the wrinkles were become a kind of writing”, “always I stumble at this love”). This book is worth reading for the translation alone: there is a richness and range to Lewis’s vocabulary; the breadth of lexis is stunning, and shows an alertness to the possibilities of language (for example, choosing “I guarded Alain’s smile inside me” over the more obvious equivalent “I kept Alain’s smile inside me”). Above all, Lewis conveys the intimacy of a work that Fellous confesses is at the limits of what she can bear. Fellous claims to be writing so as not to forget her father, to offer him something long promised, and to give him a fitting farewell. Yet it is also a farewell to the country that she means to leave and yet to which she knows she will “always be returning”: she is perpetually drawn back to Tunisia “to see, to reassess, in order more easily to disengage”. This Tilting World is an evocative, candid and deeply moving account of a life lived between histories, worlds and languages, of times gone by, of present horrors and of fears for the future, but above all it is a monument to memory in all its forms: recollection, recognition, and remembrance.

Colette Fellous and Sophie Lewis will be in conversation with Michèle Roberts to launch This Tilting World at Daunt Books Hampstead (London, UK) on Wednesday 18 September; tickets available here.

Review copy of This Tilting World provided by Les Fugitives

Women in Translation month 2019: 8 books reviewed

As many of you probably know, August is Women in Translation month, an initiative started and championed by Meytal Radzinski. In honour of this year’s Women in Translation month, here are my thoughts on the eight books I read in August.

Ece Temelkuran, Women Who Blow on Knots, translated from Turkish by Alexander Dawe (Parthian Books)

In Women Who Blow on Knots, four women escape and find their shifting fate(s) on a madcap road trip across the Middle East as the Arab Spring breaks. It’s full of action, cliffhangers and social comment, and maintains a lightheartedness while dealing with weighty issues regarding women’s roles and representations in the Middle East. The title is from a sura from the Qur’an that refers to witchcraft, and there is indeed something mystical about this story. There is something of the cinematic too: several of the implausible feats pulled off by the larger-than-life Madam Lilla felt like a film in the sense that the hows and whys of breathtaking turns of events are edited out in favour of the more watchable final result. The characterisation is what stood out for me the most: though the three younger women could easily have fallen into stereotypes or tropes of femininity, Temelkuran invested each of them with heart, fallibility, and a destiny that each must fulfil in her own way.

Sangeeta Bandyopadhyay, The Yogini, translated from Bengali by Arunava Sinha (Tilted Axis Press)

The latest release from Tilted Axis Press is an absolute gem: Sangeeta Bandyopadhyay’s third novel The Yogini is a tale of fate, illusion and self-destruction, offered in a sumptuous translation by Arunava Sinha. Homi is a young woman who, on the face of it, has everything she could wish for: a high-powered and exciting job, a full life, and a passionate marriage. However, a chance encounter one day with a silent man with matted locks imperils everything she holds dear, as fate “sinks its claws into her” and prompts her to reflect on contingency, on choice, and on inevitability. Fate is the driving force of the narrative, stalking Homi and gathering in her heart “like unshed tears.” Merciless and inexorable, fate – or is it  her own will? – guides and pulls Homi through increasingly self-destructive situations, until she risks exiling herself from happiness and losing everything that ever meant anything to her. Powerful, explosive, and utterly compelling.

Nayrouz Qarmout, The Sea Cloak, translated from Arabic (Palestine) by Perween Richards (Comma Press)

Regular readers will already know how much this book moved me, from my review last month. Nayrouz Qarmout is a Palestinian author writing about life – and particularly women’s lives – unfolding on the Gaza strip. Expect a violence that has become commonplace, but also a universal experience that is utterly irresistible: Qarmout writes with warmth and compassion, never instructing but always teaching. The translation by Perween Richards revels in the richness of language to convey all of the atrocity and humanity with which Qarmout’s writing swells: these are stories of the everyday violence, restriction and terror of living in Gaza, but above all they are stories of everyday humanity. This one is not to be missed, and is one of my top recommendations of 2019.

Ursula Kovalyk, The Equestrienne, translated from Slovak by Julia Sherwood and Peter Sherwood (Parthian Books)

Set in 1984, The Equestrienne is a coming-of-age story about two misfit girls, “dangerous bitches, disruptive females who disregarded all the rules.” The girls forge their future in a riding school in the Czechoslovak Socialist Republic, and the narrative combines the personal story of identity and survival with comments on socialism vs capitalism (“we swapped our barbed wire cage for one made of gold.”) I was a little surprised by this novella, as it wasn’t quite what I was expecting (though that’s not a bad thing): I thought it would focus on the elderly character looking back on a life narrated in flashback, but on reflection it works better as a coming-of-age story. I also very much enjoyed the collaborative translation by Julia Sherwood and Peter Sherwood; every word is perfectly placed.

Tea Tulić, Hair Everywhere, translated from Croatian by Coral Petkovich (Istros Books)

This book was longlisted for the Warwick Prize for Women in Translation in 2018, and I’ve been meaning to read it since then. I came to it after having enjoyed a recent release by Istros Books (Singer in the Night, reviewed here), and Hair Everywhere is harrowing and challenging, but well worth the read. Tulić offers a fragmented narrative about one family coming to terms with cancer, following their daily life after the mother is diagnosed with an aggressive tumour that will ultimately kill her. By turns delicate and brutal, it’s also a story of female legacy: “While I watch her lying in bed, I can feel the umbilical cord between us. Something I have tried to cut a thousand times already. And now I hold onto that invisible cord as though I were hanging from a bridge.” As well as a reflection on loss, this is also a lyrical hymn to love and a painful testament to our failure to love enough before it’s too late.

Fleur Jaeggy, Proleterka, translated from Italian by Alastair McEwen (And Other Stories)

This is the third of Fleur Jaeggy’s novels to be published by women in translation champions And Other Stories, and in it a teenage daughter dissects her emotionless relationship with a father she barely knows. The girl and her father embark on a cruise to Greece, aboard a ship called the Proleterka: this is their “last and first chance to be together,” during which the girl experiences a violent sexual awakening and an increasing neglect of her father (some children, she reminds us, “have the gift of detachment.”) Jaeggy’s examination of relationships strikes a skilful balance between perspicacity and silence: every word seems to have been weighed before being offered, and McEwen ably renders this in the transation. An unsettling narrative that cuts like a razor.

Gabriela Cabezón Cámara, The Adventures of China Iron, translated from Spanish (Argentina) by Fiona Mackintosh and Iona Macintyre (Charco Press)

I was able to get an advance copy of this forthcoming title from Charco Press at Edinburgh International Book Festival, and I can only urge you to read it as soon as it is available. This is an epic and subversive dialogue with Argentine history and literary canon: told from the perspective of China, the abandoned wife of José Hernández’s eponymous gaucho poet Martín Fierro, The Adventures of China Iron reinscribes female experience in a male-dominated context. With a luscious and rhythmic prose, Cabezón Cámara subverts and queers one of Argentina’s great literary texts in an unforgettable journey across the pampas, but also offers profound reflections on industrial progress, women’s experience, colonialism, and sexuality. Fiona Mackintosh and Iona Macintyre truly entered Cabezón Cámara’s universe, and have translated the cadence and atmosphere of the text beautifully.

Tomoka Shibasaki, Spring Garden, translated from Japanese by Polly Barton (Pushkin Press)

This Japanese novella is an unhurried tale of quiet obsessions and missed opportunities that nonetheless manages to maintain suspense: divorcé Taro lives in a condemned block of flats, and meets his neighbour Nishi, who is obsessed with the sky-blue house across from their block. Little by little this obsession starts to take over Taro’s life too, as the story edges towards a conclusion overshadowed by the threat of demolition. Will Taro and Nishi uncover the secrets of the house before they have to move away? Will they allow themselves to fall in love before they are separated? An excellent translation by Polly Barton manages to convey the wistful yet tense heart of the story.

Humanity in the face of atrocity: Nayrouz Qarmout, The Sea Cloak

Translated from Arabic by Perween Richards (Comma Press, 2019)

It’s fair to say that The Sea Cloak is one of my most anticipated books… ever. Comma Press first started advertising it last Spring: author Nayrouz Qarmout was to appear at the Edinburgh Literary Festival in August 2018, but her visa application was turned down twice by the Home Office. She just made it in time after the festival intervened on her behalf, and was then invited back this year to take part in a panel on migration and refugees – so publication was postponed in order to launch The Sea Cloak during Qarmout’s visit to the UK. So I’ve been looking forward to this book for over a year, and I can tell you that it was absolutely, unequivocally, 100% worth the wait.

Qarmout was born in a Palestinian refugee camp in Syria and was “returned” to her home in Gaza in 1992, making her a refugee for a second time, but this time in her own country. The Sea Cloak offers insight into life in Gaza, but without melodrama or exaggeration – for Qarmout, this is simply her home, her life, her political context that she is observing. Her background in journalism shows through in her writing: there is nothing partisan here, nothing that tells her reader to think or react in a particular way. Perhaps this is also an effect of her being an “outsider” even in her own country: rather than instructing, she lays out fragments and stories from her context, and offers them for interpretation. There are aspects that hint at autobiography or personal experience (for example, the female protagonists of both ‘The Long Braid’ and ‘A Samarland Moon’ are journalists, the protagonist of ‘The Sea Cloak’ “retreated into the past, to a sprawling camp buzzing with children playing marbles and forming teams for a game of ‘Jews and Arabs’”, and the bombing of a building in ‘Our Milk’ echoes an experience Qarmout describes as being intimately connected to her writing – she forced herself to write one story for every floor that was rebuilt), but the rich tapestry of everyday people presented in The Sea Cloak defies any narrow interpretation of the text as being the experience of only one person – the rhetorical question in ‘14 June’, “How many times has she jumped out of bed thinking that a bullet has punctured her window?” may very well be Qarmout’s own experience, but it is also doubtless the experience of anyone who lives in a warzone. Fictional characters live through real events, such as in this depiction of a restaurant bombing: “The waiter staggers for a moment, still standing in the rear half of the restaurant that hasn’t collapsed. His face gushes with blood – some invisible piece of shrapnel has sliced his cheek – but he barely notices it. All he can do is stare at the splashes of colour that fringe the rubble: strips of tapestry and flesh, both heavy with history.”

Not all of the stories deal with terror and conflict: like Gazan life, these are part but not all of the picture. Many of the short stories have women’s experience at the fore: in ‘The Sea Cloak’, a girl struggles with the transition to womanhood and the restrictions that this forces on her; in ‘The Mirror’ there is the memory of a sexual assault; in ‘The Long Braid’ a schoolgirl is told by her teacher that emancipated women are “sluts”; in ‘Breastfeeding’ a mother and father want something better for their daughter than becoming “entangled in the traditions that they themselves were raised with and could never escape”, only to discover that all options lead to restriction. Life is too often decided for these women, but in many cases other women uphold this patriarchal society. Yet Qarmout’s characters try not to be, or not to remain, victims. These are not stories of misfortune but of life, and the strength of The Sea Cloak comes from not having one definable agenda, but rather a collective one: destinies are interwoven with intelligence and compassion (read ‘White Lilies’ in particular), showing us that we are never truly external to the problems of a region, because they are the problems of humanity.

As for the language and the translation, both are excellent. Qarmout’s writing has a wisdom and clarity, and a richness of expression that is both exciting and compelling. Perween Richards translated all but the title story of the collection (which was translated by Charis Bredin), and she conveys this richness superbly, bringing the text to a recognisable place without ever being untrue to its origins: the translation is careful and precise, yet not overworked. Richards was one of two winners of the Translate at City translation competition in 2016, and as far as I know this is her first major translation – and what a debut it is. This collaboration is a shining example of the best of connections: between people, places, cultures and contexts. The narratives might be shocking in their everyday candour and the lack of melodrama to describe the atrocities that have become commonplace, but there are nonetheless universal messages such as this one from ‘Breastfeeding’: “We all have to grasp at the chances we can in this life.”

This juxtaposition of extraordinary situations and ordinary lives is one of the most striking features of the collection: as Richards notes of Gazan life, “Not everyone is a freedom fighter, most are just normal people trying to go through life with dignity and purpose in the face of impossible odds.” If there is everyday violence, there is also everyday experience – there is a new take on forbidden love in ‘The Anklet of Maioumas’, in which a girl and boy from opposite sides of the border hope to be together; in ‘A Samarland Moon’ two young people who have drifted apart – one towards religion, the other towards emancipation – try to remember what they loved about one another, and young boys work to advance in life in ‘Pen and Notebook’. There is no preaching or overly didactic comment – Qarmout’s characters go about their lives, and their lives just happen to unfold in one of the most volatile regions on Earth. I learnt a lot from reading The Sea Cloak, yet I didn’t feel “instructed” – I think this is a necessary book. We need this book in the west. We need to know, we need not to read only books in which we recognise ourselves. One character in ‘Black Grapes’ asks “When are they going to understand?” – this is the challenge laid down gently by Qarmout. Terror, violence and death abound, yet if there is one thing that truly defines this collection, it is humanity, and that is the connection that rises above all others. As Qarmout stated in her recent appearance at Edinburgh International Book Festival, “Suffering in revolution is a collective experience. I rebel. Then we exist. I believe creation is a revolution. Palestinian identity needs this revolution.” The Sea Cloak is indeed a quiet revolution, and I urge you to be part of it by reading and sharing these stories.

 

A road trip to remember: Olja Savičević, Singer in the Night

Translated from Croatian by Celia Hawkesworth (Istros Books, 2019)

Singer in the Night is the second novel by Croatian author Olja Savičević; the narrator tells us that it is “a story about life”, and encompassed within this is a story about love and memory, and their attendant joys and losses. Both hilarious and profound, this book is a reflection on the ways we love, the paths we choose, the exhilaration and peril of being open to new experiences and the stagnation and dessication of choosing safety and banality over desire and dreams.

Singer in the Night is mostly narrated by Clementine, an eccentric soap opera scriptwriter. Clementine is a “blonde orange” with silicon lips and whitened teeth who gave up on art and followed money and popularity, for “people needed a lot of cheap, quick emotion, they needed it in greater quantities than it was possible to produce … Let’s face it, gunk has moved the vast majority of people and filled their thoughts probably more than the best work of art ever could.” Clementine hasn’t seen her ex-husband – the elusive poet Nightingale – in some time, but she is jolted into going in search of him when he disappears after leaving a series of letters for his neighbours in Split. The letters have been written in response to a bout of loud lovemaking in one of the buildings on the street; in this hot summer with all the windows open, the sounds of passion have carried, and inspired Nightingale to write from a variety of perspectives about love. There is no trace of Nightingale in Split; he has not been in contact with his friends and family, and even the yacht that he still co-owns with Clementine has been abandoned. Cue Clementine climbing into her golden convertible car and embarking on an unforgettable journey from Slovenia through Croatia to Bosnia in search of her lost love. Along the way she recounts her memories, which she sees “as though through polished glass”, and which are interspersed with the letters from Nightingale.

Nightingale’s letters delight in the possibilities of language; he is “a ruler over words and colours” who explores the breadth of lyric expression with his shrewd observations about society and human nature. Though they are ostensibly about the lovers keeping the street awake on the hot summer nights, this is really just a pretext to talk about love (“where the heart is not free there cannot be love”), resistance (“Why would a child write if it was well?”), politics (“People constantly sing about freedom, but at the same time with all their limbs, including their tongue, they stay on the border”), and a range of other musings on war, (anti)heroism, contingency, and life in all its chaos.

While Nightingale’s missives are poetically crafted, there are occasionally some unexpected turns of phrase in Clementine’s monologue. Given how distinctive the writing style is and how renowned Celia Hawkesworth is, I rather suspect they may have been there in the original too; I found the extended use of the imperative mood quite marked, but I can’t imagine that “Let mother come home soon” was chosen over, say, “I wish mother would come home soon” or “if only mother would come home soon” without a lot of thought, or that “starkers people” was chosen as a childlike colloquialism for naturists without deliberation over its unusualness. Clementine is a unique character, and so I suppose it follows that she has a unique way of speaking, which Hawkesworth conveys ably in the translation. The repeated use of “my dear” creates intimacy and hints at Clementine’s raconteur personality; it is an affected way of speaking that indicates the milieu in which she operates but also a form of self-address, as she is recording her voice for herself. For Clementine, we discover, is suffering from a progressive memory loss, and does not want to forget the detail of her life –particularly not its joys and its passions – and for this she needs to evoke Nightingale, the lost love of her life.

The final section of the novel is the one in which Nightingale finally speaks as a character, rather than through his letters. We find out why he left and how he perceives Clementine, as well as more detail on his life philosophies. But Clementine’s own story is also full of thought-provoking pathos: Savičević is a socially engaged writer, aware that “it’s the duty of anyone living in a dystopia to create a utopia.” Her narrative calls into question the world that she and her contemporaries inherited, Clementine’s personal tragedy mirroring the historical amnesia that post-war societies slip into, both encompassed in a phrase which could sum up the entire book: “what keeps us going is memory.”

If the narrative is disorientating at times, this is indicative of Clementine’s own confusion, her road trip an apt metaphor for the narrative ride she takes us on. Her outpourings fill the silences of a relationship and a youth that have faded away, and are populated by a cast of eccentric supporting characters, from the fearless, hairless Helanka and her twin daughters Billy Goat and Arrow to Clementine’s platonic “comrade” second husband Bert and her failed movie-mogul-turned producer Kalemengo. Part road trip, part social comment, part metaphor and part love story, above all this is an exploration of memory, with some fittingly memorable twists along the way. It is not Nightingale that Clementine is moving towards on this turbulent journey, but her past, her memories, and herself. This reflection on the fragility of memory – both personal and historical – is a poignant, innovative and politically engaged book that deserves attention.

Olja Savičević will be at the Edinburgh Literary Festival on Sunday 18 August.

Review copy of Singer in the Night provided by Istros Books.

Resistance in the everyday: Madeleine Bourdouxhe, A Nail, A Rose

Translated from the French (Belgium) by Faith Evans (Pushkin Press, 2019)

A Nail, A Rose is a collection of short stories by Belgian writer Madeleine Bourdouxhe, written in the twentieth century but previously untranslated. Bourdouxhe was born in 1906 and lived through two world wars; she was admired by Simone de Beauvoir but has been largely forgotten by literary history, a neglect “partly explained by her diffidence but even more by the catastrophic disruptions of modern European history” (translator’s note). Translator Faith Evans has undertaken a labour of great love and dedication, rescuing these stories and with them Bourdouxhe’s talent, for a new readership.

The stories in A Nail, A Rose tell of daily life for women in the mid-twentieth century, and so in one sense there is very little plot development. Yet bubbling beneath the surface are all sorts of subtexts, particularly regarding the second world war – the stories were written in the aftermath of the Nazi invasion of Europe – and the social role of women. The women in the stories carry out quiet acts of resistance: they are housewives, mothers, lady’s maids, and their reality (a life of servitude and submission) is laid bare and turned on its head in surprising ways. These ordinary women have extraordinary experiences: in the title story the protagonist is wandering alone, nursing a broken heart. As she walks along thinking of her lost love (“She was living through a present without a future, she was carrying inside her a love with no tomorrow”), Irène is unexpectedly and brutally mugged. She survives the attack only to remonstrate with her assailant, divide her possessions up between them, and leave him utterly mesmerised by her. He later turns up at her door to check that she is not still suffering from his attack, and to offer his services in any way he can. This hilariously absurd turn of events showcases the message of this and so many of Bourdouxhe’s stories, as Irène tells him not to rob her of her only pleasure – self-sufficiency. You can take my meagre possessions, she implies, but you will not take my independence. Don’t let the quiet and traditional settings fool you: this is a text with a powerful feminist message.

Possessions and reappropriation also play a key part in ‘Louise’, in which a maid borrows her mistress’s expensive coat to go and meet her lover, but finds herself not only enveloped in the scent and experience of “Madame”, but also suffused with intimate fantasies of the woman who normally wears the coat. Acts of resistance against male domination are also echoed elsewhere in the text, as women rise up against their life of servitude: in ‘Blanche’ the heroine is dismissed as a “stupid woman” but in reality she just does not recognise herself in a life of cooking, cleaning and ironing (“This is me, Blanche, and I shall never know who I am”). The resistance takes on its most explicit (and murderous) form in ‘Leah’, in a scene that sums up all the poetic simplicity and unassuming brutality of Bourdouxhe’s work:

“Three or four times, at long intervals, I was assailed by deep breaths from his big open mouth. Finally he was still, and I was confronted by its abyss. As I closed his jaw with my hands there rose in me an overwhelming grief, heavy with poisonous dregs. I sat there for a long time, my hands pressed against his face, while my heart slowed down and my hands became accustomed to the stillness and coldness of death.”

These stories take us to unexpected places, and show women breaking with tradition and expectation even when they seem to be submitting to it: for example, in ‘René’, a young male hairdresser instinctively kisses a female client, and invites her to meet with him. She agrees, but his desire for her is met with impassivity, with a sense of fulfilling expectation, and his disappointment is so great that, “consumed with anger in every inch of his being”, he ends up smashing her face against a rock. He runs off but then relents, and comes back to find her only to discover that she has pulled herself up. These women are unbroken and unbowed, never allowing themselves to be dependent on men even if the circumstances in which they find themselves seem traditional – after all, this is rural Europe in the mid-twentieth century. Indeed, history beats at the heart of Bourdouxhe’s tales (“the mould was rising in layers, on the world and in her heart”), and the influence of the Second World War on her writing is evident: the final story in the collection (and my personal favourite) is ‘Sous le pont Mirabeau’, the title borrowed from an Apollinaire poem. A woman gives birth to the sound of a foreign invasion, and finds she must flee the city, taking her newborn baby with her on the back of a truck. Blood is streaming down her legs, and her swollen breasts ache as she tries to produce enough milk to feed her baby, yet there is no melodrama here: Bourdouxhe describes her heroine’s experience (which is based on her own) in pragmatic terms (“She took a few steps around the room; she seemed to be all right. After all, she couldn’t always have a stretcher and three soldiers to help her”). It is this understatement that I most appreciated about the collection, along with the evocative musings that connect the everyday stories to universal truth and experience, such as solidarity in resistance (“All around she perceived the world’s splendour, its pain and its joy”) and living through a war for the second time (“All the past had to be lived again”).

The translation by Faith Evans has received universal praise, and for the most part deservedly. Evans communicates Bourdouxhe’s insight with extraordinary clarity and candour, but I was less convinced by the dialogues. Predominantly held between working-class characters, at times they were rather formal and affected (particularly in ‘Leah’ and ‘Sous le pont Mirabeau’). However, what is evident throughout is Evans’s commitment to bringing Bourdouxhe’s writing into English, and her translations show the depth of understanding that she has for these stories and for the woman who wrote them. Bourdouxhe’s women have almost untold depths of feeling and trauma: they are alone, they are heartbroken, they are attacked, they are abandoned, they are displaced, they are bleeding and they are downtrodden. But they are never bowed: they love, they mourn, they desire, they dream, they take risks. Above all, they never lose their sense of self: they withhold their core and their forgiveness, and thanks to Evans’s efforts they emerge to claim their place in the canon of European literature.

Review copy of A Nail, A Rose provided by Pushkin Press

Destruction or redemption? The Wind That Lays Waste, Selva Almada

Translated from the Spanish (Argentina) by Chris Andrews

It’s new Charco book time, which is always something to get excited about: I have yet to read a dud book from Charco, and the newest release, The Wind That Lays Waste, is everything I’ve come to expect from them – original, evocative, memorable, and (quite simply) a really good read. I also want to take a moment to mention what a beautiful artefact this book is: Charco’s visual identity is modern, streamlined, and instantly recognisable, and their books are as much a pleasure to hold and behold as they are to read.

This latest offering is a superb addition to the Charco catalogue; it is Selva Almada’s debut novel, and it is an eerily atmospheric account of the extraordinary events in an ordinary day. While the some of the quotes on the press release hint at traditions of magical realism, I think this does The Wind That Lays Waste a disservice, as it rather draws a veil over how original the story itself is. Where it does “fit” with a literary tradition is in the focus on the everyday, small events that have enormous consequences. The narrative revolves around four characters from two generations, who form a range of unlikely pairings. On the one hand, we have itinerant evangelist Reverend Pearson travelling across the Argentine countryside “burning with the flame of Christ’s love” and dragging his teenage daughter Leni along with him. Their relationship is strained: the righteous preacher is incapable of understanding his daughter and her need for affection from a flesh-and-blood father rather than a divine one, and there is delicious authorial irony in comments such as “Leni kept quiet. They always ended up doing what her father wanted, or, as he saw it, what God expected of them.” However, this relationship is not one-dimensional: Leni is similarly unable to see her father as a person, viewing only his flaws and the way in which he embarrasses her or irritates her with his insistence on every detail of their life – such as being stranded in the middle of the plains – being part of God’s plan (“Leni thought that if one fine day the good Lord actually came down from the Kingdom of Heaven to attend to the Reverend’s mechanical mishaps, her father would be more stunned than anyone”). Nonetheless, even Leni is eternally – if reluctantly – mesmerised by Reverend Pearson’s charismatic preaching, and wishes their relationship could be different (“This meant that he was very glad to have her with him, thought Leni, but he could never say it like that, straight out; he always had to get Jesus in there, between them”).

When the Reverend’s car breaks down on a journey across the Argentine countryside, they end up at the garage and home of “the Gringo” Brauer, a man who has “no time for lofty thoughts”, and his assistant, Tapioca, a “pure soul, still a little rough around the edges.” The four characters are forced together on a public holiday, unable to leave the remote garage, and tensions rise as a storm gathers across the dusty plains. The storm is an unabashed metaphor, but it works spectacularly well: Brauer comments that “the wind is changing”, a storm approaching, and at the same time his tranquil life with Tapioca is disrupted and turned upside down as the Reverend spreads the “wind that lays waste”, intent on saving Tapioca’s soul and claiming him for Christ: “he felt that he was an arrow burning with the flame of Christ. And the bow that is drawn to shoot that arrow as far as possible, straight to the spot where the flame will ignite a raging fire. And the wind that spreads the fire will lay waste to the world with the love of Jesus.” The Reverend is both the arrow and the wind that fans the flames, and as the flames lick higher so the heat and intensity of the day burns as the storm approaches. The storm is necessary, inevitable (“Every crack in the earth was crying out for rain”), and yet this wind that lays waste will not spare the Reverend himself, as he risks saving Tapioca only to lose Leni.

If the metaphors and pairings of characters recur through the narrative, so too do the stories of abandonment: there are echoes in the backstories of cars driving off in a cloud of dust, a lone figure left on the plain behind them, and these stories are tied up with the characters’ sense of identity: even the good Reverend’s self-presentation is based on a lie that covers up his own abandonment of his wife. Indeed, there are no mothers in the present in this story; they have been left behind or they have driven off onto the horizon. The Reverend’s own mother (who was also abandoned, this time in her pregnancy by the Reverend’s American father) appears in flashbacks, largely to explain his rebirth and spiritual calling, which comes from a place of great fear and ends with his role as peripatetic evangelist. The ending is particularly enigmatic and open to interpretation: repetition and parallels abound in The Wind That Lays Waste, but nothing is fixed: there is no “good” and “bad”, “right” and “wrong”, “tainted” and “pure”. Stereotypes are dismantled and opposites blurred in this quietly powerful and superbly crafted tale of idealism and righteousness, destruction and redemption.

Review copy of The Wind That Lays Waste provided by Charco Press

Exploring mental and physical illness: Gine Cornelia Pedersen, Zero, and Maria Gerhardt, Transfer Window

Nordisk Books is an independent publishing house founded in the UK in 2016, with a focus on modern and contemporary Scandinavian literature. I was fortunate to read two of their recent releases, and am bringing them to you today in a special double-bill review.

Gine Cornelia Pedersen, Zero, translated from Norwegian by Rosie Hedger (Nordisk Books, 2018)

Zero is the stream-of-consciousness narrative of author Gine Cornelia Pedersen’s deteriorating mental health, transitioning from a childhood in which she “absorb[s] everything unfiltered” to an adult life in which:

“I don’t want help
I like it at rock bottom
I’m drowning in my own ego
It feels glorious”

Described on the cover as a “punk rock single of a novel”, Zero certainly bears characteristics of punk rock: fast-paced, hard-edged and stripped bare, this is a painful book, but also an immensely lyrical one: it pulses with obsessive intensity, bursts with life and sound and vivid descriptions. The layout of the text looks something like poetry; thoughts (and pages) are incomplete, and yet the narrative always seems carefully structured, even when sentences are cut adrift and grammar goes out of the window. There are no full stops – or, rather, there are a couple when doctors speak, but none in the monologue – indicating the outpouring and intensity and the lack of definitive “endings” (indeed, the ending itself was the only part I struggled to understand, as it seemed almost hallucinatory – whether from the effects of medication or imagination I don’t know). The story is deeply personal, and the subject pronoun “I” is used repeatedly throughout Zero, yet although such liberal repetition of “I” has the potential to become rather self-indulgent, and indeed such an intense book could easily be quite bleak or emotionally draining, neither of these is the case. On the contrary, this is an absorbing, throbbing narrative, a compelling and compulsive read.

Rosie Hedger’s translation is faultless: she has captured the voice of a tormented millennial perfectly, and every word of this spare, gut-punching book is perfection. One of the questions I found most interesting was about where the real “sickness” lies – is it with a woman struggling with her mental health, or with the way in which society deals with her? Forced into a psychiatric hospital, the narrator is injected with tranquillisers, given pills that make her a stranger to herself, and repeatedly told that this is essential (not even watered down with a platitude of it being “for her own good” – indeed, we rather suspect that the confinement is not for her own good at all). She begins her own internal revolution:

“I realise these people are sicker than I ever expected
That I’m going to have to inwardly oppose them”

This “inward opposition” is carried out by controlling her behaviour in order to assure her release (“I open my mouth to say something but I realise that it’s better to keep my thoughts to myself here”). She clings to these thoughts, to the hope that they will return, to a time when she will feel as though she inhabits her own body again. And when this begins to happen, it also symbolises a return to life:

“The feeling has started to return to my body
I’ve started thinking again
Constantly thinking
Thoughts sweep through me
It’s as if I’m getting high
Getting high off the sun, off the night, off people on the street”

It is not the medical staff with their needles and prescriptions and neat labels of psychosis who save the narrator in the end, but – if indeed she is “saved” at all, for we leave her only part-way towards a recovery that might only ever be temporary – it is by her own determination and her awareness of her mother’s love pulling her back towards life:

“And that’s when it hits me
The love in Mum’s voice
The tenderness
As if she were talking to something that might break if she were to say the wrong thing
Her absolute, total, unconditional acceptance of me”

This tribute to the mother is not at all clichéd – it is not that “love conquers all”, but rather a moving eulogy to an unconditional love that creates a lifeline where modern medicine does not. In Zero, Pedersen gives voice to all that is suppressed, to emotions dismissed as self-indulgence and treated as psychosis, and to the need to be part of the world, not isolated from it. This urgent, rebellious short text is a countdown to zero, a ticking clock, a timebomb, and a gem waiting to be discovered; I highly recommend it.

Maria Gerhardt, Transfer Window, translated from Danish by Lindy Falk van Rooyen (Nordisk Books, 2019)

In the latest release from Nordisk Books we move from mental illness to physical illness, as Transfer Window is inspired by author and musician Maria Gerhardt’s terminal cancer diagnosis. Gerhardt died in 2017 at the age of 39, and in this book she relates the difficulties of knowing that life will be cut short, and the impossibility of an old age that she can only imagine. Transfer Window is also an indictment of the failure of “healthy” friends and members of society to provide adequate palliative support: Gerhardt’s friends want her to cheer up, remind her that she “seemed so much better” last time they saw her, and would prefer that she constructed a façade of coping with her diagnosis. The book’s subtitle (“Tales of the Mistakes of the Healthy”) indicates the detrimental effect that lack of understanding and compassion can have on an ill person and, as in Zero, calls into question where the real sickness lies.

Though there is much realism in Transfer Window, the setting is a futuristic representation of end-of-life care. The majority of the narrative takes place in a vast hospital compound, a section of the city that has been blocked off and dedicated to the dying. They leave their loved ones (“We have already said goodbye to our families in a beautiful ceremony”) and enter a white-walled hospital where “bar a miraculous recovery, once you check in, you can never leave.” This hospital for the dying also seems like a voluntary prison (“I’ve been here three hundred and eighty days”; “I etch lines in the wall, to the lift of my mattress, in order to keep track of how long I have been here”), and eventually the narrator acknowledges that “this really is a ghastly place to be.” The dystopia of a seemingly perfect “death hotel” reminded me of Ninni Holmqvist’s marvellous The Unit (translated by Marlaine Delargy for Oneworld and reviewed here) – the residents seem to have all they could want, including access to marijuana oil and to virtual reality experiences that allow them to relive their most cherished memories – but what they do not have is a future.

The inconsistency of the translation was the one thing that let this book down for me: though much of the translation conveys a stark beauty and musicality, in places some literal or calqued phrases creep in. There are also some editing errors, including a number of rather oddly placed commas – this shouldn’t spoil your appreciation of the book, but it’s a shame as this is otherwise a powerful and moving text. Where Falk van Rooyen has excelled in the translation, however, is in its lyricism: there are a number of sections which are almost unbearable in the rawness of their pain. In particular, references to the narrator’s (healthy) partner are immensely moving: “My sweetheart, you are not to see me lying here sobbing. You are not to see me hunched over the toilet bowl, howling for help down the drain.” It is not only life that is cut short, but also love (“The only thing I find frustrating about the next dimension is that you are not coming along”), and yet this is never saccharine. Rather, we are made aware that the partner gets to carry on where the narrator is cut off: when the partner shouts at their son that she doesn’t have time for his reluctance to get dressed for kindergarten, the narrator comments that “I hated that you said you didn’t have time. You have so much time. You have nothing but time.”

This was a painful book to read, particularly with the knowledge that the author had died. Such confrontation with mortality is rarely comfortable, but I rather think that’s Gerhardt’s point: she doesn’t want to make things comfortable for her reader, she wants to share her pain. Gerhardt’s descriptions of her ravaged body (“My body knew pain which the body can’t bear”, “my body seized in the agony that only a body in absence of motion feels”, “a body forever in a state of emergency”) are just as important as her reflections on health and illness, and the most human thing we can do is to read this book without trying to find a “silver lining”, but rather learn from it to make fewer “Mistakes of the Healthy”.

Review copies of Zero and Transfer Window provided by Nordisk Books (via Inpress Books)

Writing between two worlds: Eva Moreda, Home is Like a Different Time

Translated from Galician by Craig Patterson

In Home is like a different time, Galician writer Eva Moreda delves into the lived experience of emigrant communities in London in the 1960s and 70s. She writes from the perspective of Gelo, a recently widowed young(ish) man who has travelled from his home town of Veiga in Galicia to seek a different life in London, leaving his home – and with it his former life – suspended in his memory, exactly as it was when he left: “To go to London, Hamburg, even Madrid or Barcelona, as some people go, was to really go: to be resigned to not seeing Veiga for a year or two. It was knowing that in your mind, Veiga was going to be frozen in that same moment when you left.” In the original, the title is Veiga is like a different time (A Veiga é como un tempo distinto), and the more general “home” is well chosen for the translation, opening up the narrative to invite a more universal connection and empathy. Veiga features throughout as distant yet always remembered, a place to leave but one which is never truly left behind. Moreda’s prose is limpid and precise, and this is delicately rendered in the translation: despite an occasional overly literal term or grammatical slip, Craig Patterson communicates sensitively the undertones of longing and belonging, as well as the numerous “unsaids” so crucial to the tone of the work. Patterson resists the temptation to over-explain, showing a discreet understanding of Moreda’s uncluttered style.

Gelo addresses his narrative to a second-person “you”; this “you” is Elisa, a young woman from Veiga who Gelo meets again in London and whose life intersects with his in ways that contribute to the wistfulness and longing that pervade the text. Veiga is described as frozen in time; Elisa describes its traditions and expectations when she acknowledges that “My mum sees me working in a shop, my granny tidying up and her doing the accounts. It’s all she dreams about and hopes from life”. England is represented, then, not only as a different place, but also as a different time – in terms of years elapsed, but also a time of different attitudes and possibilities, “a country where there were no haberdasheries or families of three generations of women who lived in the same house.” Apart from one chapter which returns to the “different time” in Galicia to explain how Gelo met Elisa, all the chapters in the book take a London place name as their title. This not only shows the various locations that were significant for Galician emigrants at the time the narrative is set – places that define the characters who inhabit them, and the different versions of themselves that those characters embody in each place – but also traces Gelo and Elisa’s path through London. Both of them leave Veiga in search of something different, and both end up by turn finding and losing themselves in their new lives.

Gelo takes a job as a waiter, and the hostility towards emigrants is palpable even when not overt: Gelo’s name is rejected outright by his boss (“Gelo” sounds too much like “hello”; his full name, Angelo, is too aberrant, for how could the boss call a man Angel?) Eventually Gelo’s boss decides that he will be called Martin (a calque of his surname, Martiño), and so Gelo’s dual life begins: Gelo is “left behind somewhere, in a different time”, while Martin is swallowed up by his life in London (“I became more and more Martin and less and less Gelo”). Identity is not chosen but imposed, and this duality and eclipsing of identity is echoed elsewhere: Elisa finds work under the name “Liz”, and is employed by Marks and Spencer on Oxford Street, despite the manager’s reservations about “how the very middle-class customers of that establishment would take your imperfect accent, your at times intuitive English.” If Gelo’s life is full of unfulfilled desires and dreams, then Elisa’s is even more so: there are hints of foreboding early on, references to her eventual disappearance, and details of how she slips away from Gelo as her dreams retreat further away from her, until eventually Gelo acknowledges that “I knew that my Elisa no longer existed.” London is a place of opportunity and possibility, its streets bursting with colour and music, its enclaves brimming with camaraderie, but it is also a place that can strip away Elisa’s dreams, community, and sense of identity, as she moves through increasingly hardened incarnations of herself. Gelo is the only one who still sees “his” Elisa, and who never gives up on her, and in this sense the story is as much about the fleeting, flitting Elisa as it is about Gelo himself.

As we follow Gelo through London, “that immensity, that mass, that gravitating mass that ended up swallowing you as it twists and turns, so everything ends up becoming less important, less than in Veiga”, Gelo in turn follows Elisa – always moving, always elusive, shifting as much in identity as in destination: “The Liz from Oxford Street […] who sold skirts and perfumes in Marks and Spencer in the centre of London, who liked to go to Brighton in the summer. That Liz was alive just three years before. In the days of Bethnal Green, nobody knew where she was. Today, nobody knows where Elisa from Bethnal Green is.” Elisa’s disappearance is explained towards the end of the novel – as usual, I shall avoid spoilers, and restrict myself to saying that all the nostalgia and desire gathers and bursts out in the revelation of Elisa’s fate.

Though Gelo has both a deceased wife and, eventually, a new one, the love story in Home is like a different time is about neither of these women, but rather about the one who is never his, the one in whom he sees himself reflected, the one who always exists in a “different time.” Moreda brings to life the streets and sounds of London in the 1960s and 70s, but above all gives voice to the difficulty of being caught between two worlds, languages and identities. This beautifully observed short novel is meditative and yearning, a hymn to the resilience of the human spirit and to the lengths we will go to for love, in whatever form that love may take.

Review copy of Home is like a different time provided by Francis Boutle Publishers.

Exquisite self-portraits in a digital age: Sylvie Weil, Selfies

Translated from the French by Ros Schwartz (Les Fugitives, 2019)

Selfies is a thoughtful take on a modern obsession: in it, Sylvie Weil offers a series of vignettes inspired by self-portraits of women throughout history. Each snapshot describes a self-portrait that evokes for Weil a comparable tableau in her personal memory, which she describes before giving us a glimpse of its importance in her life.  This creates an intimacy and familiarity, explaining the detail not only of the photograph itself, but also of all the concomitant personal memories and anecdotes that the image evokes for the storyteller.

The subjects of the selfies range from milestones in Weil’s life to recollections of incidents that might seem more minor, but they all have in common a quick wit, a keen sense of irony, and an immense capacity for compassion. A heady love affair comes to an end with a big decision and a faint hint of regret for a life imagined that will never now be lived (“I’ll watch the dawn break over the red bricks of Harlem. I’ll fasten my suitcase and put water in the kettle to boil. I’ll hastily drink a cup of Nescafé, sparing a brief thought for the students for whom I’ll never pour tea”); Weil’s feelings of irritation towards a pair of American friends surface when they make a selfish decision about their pet (“When you take a dog to the vet to have him put down because he’s guilty of swallowing a plastic duck, he’s obviously got no chance of making it”); the joy of friendship is explained with the brief yet poignant comment that “she gives me the most wonderful gift anyone can give: belonging.” These incidents are connected to more significant revelations about Weil’s life: her need to belong and her passionate attachments belie hints of tragedy elsewhere in the snapshots. In ‘Self-portrait as a Visitor’ we find out that Weil’s Jewish family fled France in 1941 to escape persecution, and learn that Weil’s mother, despite coming from a distinguished family, is always haunted by the “refugee” tableau and passes on to her daughters “nostalgia for a childhood that was not ours.” Later, ‘Stabat mater’ deals with Weil’s son’s mental illness, and ‘Self-portrait as a maker of idols’ reports his disfigurement after a hate crime: the son recurs repeatedly in Weil’s tableaux, exposing Weil’s helplessness as a mother who cannot protect her child from history, from the present, or from other people (perhaps most piercingly evident in ‘Self-portrait with portrait of my son’).

Ros Schwartz conveys all the atmospheric melancholy in her beautifully measured translation, eschewing superfluous detail and offering the fragments of Weil’s life as just that – never a complete picture, but a series of connected representations. Often when reading translations of languages I know, I imagine the translator grappling with a particular choice of phrase, and sometimes wonder why this one was chosen over another. With Schwartz, every time I start to think “I wonder whether X would have worked”, I have the impression she already thought about that, weighed it up, and discarded it in favour of what I’m reading on the page. There is a carefulness to her work, a commitment to elegance and timbre: for example, in a couple of instances, a past participle starts the sentence (“Erased, the photo I wish I could have shown”; “Forgotten, the selfie with the bear”) – these sentences are not typical of English syntax, yet starting them with a subject (think “the selfie with the bear was forgotten”) would lose both the emphasis and the poetry. Schwartz’s rendering is more controlled and evocative, and you know straight away that it’s a choice, not a calque.

The vignettes offer intimate insights into Weil’s personal life but are never self-indulgent, and Weil also weaves in often profound observations on human nature and the difficulties of life: in ‘Self-portrait as a Chinese mushroom’ she shows how a longed-for friendship can turn on a seemingly innocuous comment, and in ‘Self-portrait as an author’ demonstrates how even a celebrated writer can feel humiliated, always dependent on people buying the books and being polite. Perhaps my favourite example of these reflections is the one Weil makes on selfies themselves, noting that “Everyone takes selfies, it’s a way of going unnoticed.” In the act of taking a selfie, what Weil is photographing goes unnoticed because people think it’s “just” a selfie like the millions of others. But Weil is using this 21st-century obsession in order to do something far more important: she is capturing a moment or an observation, or creating a longed-for memory. She is not just a tourist taking a clichéd snapshot, or a mildly hysterical middle-aged woman obsessed with snapping photos of “three scrawny roses with crumpled petals”, a cloud formation, or a family gathering, and yet this is how she wants to appear so that no-one notices her true objective, or realises what she is really capturing with her camera.

With her present-day observations, Weil reaches back to the past: to the women in the self-portraits, to her mother, and to generations of her family who have gone before. She takes as her point of departure something static, and turns it into something shifting and organic, with her acknowledgement that “the past is real and alive.” Unlike the heavily edited and filtered images usually associated with the selfie, Weil’s purpose is not to embellish but to understand, not to distance from reality but to connect. Crossing over from the visual to the verbal, this book is everything that selfies should be: it is not posed or contrived, not about looking her best or showing an over-the-top perfect life. Rather, it is vulnerable, sensitive, beautifully crafted and exquisitely displayed.

Sylvie Weil and Ros Schwartz will be in conversation with Amanda Hopkinson at the Institut Français in London TONIGHT (Monday 17 June) for the official launch of Selfies: book a ticket here.

Review copy of Selfies provided by Les Fugitives; pre-order your copy here.