It’s hard to think of another figure in the history of weltliteratur whose catalogue has made it so quickly to these shores, or whose literary executors have been speedier – not to say more punctilious – in publishing his archive. Though Bolaño’s imagination seems inexhaustible, it’s hard not to greet the news of yet another “lost work” or “early work” or “lost early work” with fatigue. (Or even, given the overlap between certain editions, suspicion.)
"Are you experiencing any of the following: (1) A thirst for palinka? (2) A yearning for Budapest, though the closest you’ve ever come is the Hungarian Pastry Shop in Manhattan? (3) An urge to deploy diacritical marks over every other vowel? If so, you may be suffering from Hungarophilia."
Ghosts of Budapest by Garth Risk Hallberg
"I did something crazy this year. I blew half of a freelancing check on the complete, seven-volume edition of William T. Vollmann’s 3,000 page essay on violence, Rising Up and Rising Down. (What can I say? It was either that or diapers for my children.)”
I can no longer remember the precise distinction between the uncertainty principle and the observer principle, but one way or another, I’ve started to detect a feedback loop involving the Year in Reading series and the reading life it purports to document. When I dashed off my first entry, in 2005 (can that be right?), it was purely in the spirit of a report. But by 2012, even in January, February, and March, I found myself picking up a given book and asking: Is this a contender for the series? Is there any chance this is going to be the best thing I read this year? And if not, back onto the shelves it went.
"De La Pava’s indifference to the prevailing trends of the marketplace helps to account for the number of rejections he would receive from literary agents (88, according to The Chicago Tribune.) But it’s also what’s so alarming about his novel’s close brush with obscurity. It suggests that traditional publishing has become woefully backward-looking, trying to shape the novel of tomorrow based on what happened yesterday. Could A Naked Singularity have benefited from a good editor? Of course, but books like this — singular, urgent, commanding — are supposed to be what good editors live for.”
- Outside the Ring: A Profile of Sergio De La Pava by Garth Risk Hallberg
A self-published magnum opus was, to say the least, an unusual project for a prestigious university press. It had to pass muster with the board of faculty members and administrators that signs off on each book published. But, thanks in large measure to statements of support from the novelist Brian Evenson and critics including Steven Moore, the press decided to acquire the rights to the book. From there, it was only a hop, skip, and a jump to the window of my local Barnes & Noble, where I passed it just this week.
It turns out that my sense of the “classiness” of the English novel is like my sense of the monolithic “classiness” of English elocution — that I suffer from a kind of cognitive foreshortening, wherein important distinctions disappear. In fact, what the English novel is overwhelmingly about, in class terms, is not the hereditary nobility but the middle classes: the downwardly mobile landowners, the upwardly mobile bourgeoisie.
In the house where I grew up, the child of English teachers, PBS’ Masterpiece Theatre connoted “classiness” in at least two senses. On one hand, its filmed adaptations of classic novels added a touch of literary refinement (and sometimes even of eat-your-vegetables self-improvement) to a television schedule larded with junk food. On the other, it offered a place for us churchmice to indulge our fascination with “class” in the baser sense: idle wealth and posh intrigues and butlers who ring for tea at three.
Garth Risk Hallberg on the literary pedigree of Downton Abbey.