Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia, who died...
A valediction from the noted Argentine writer, known for bringing the conventions of hard-boiled U.S. crime drama into Latin American literature.
L’ennui, c’est moi. First-tier Argentine novelist Piglia’s (Money to Burn, 2003, etc.) literary alter ego, Emilio Renzi, was a world-weary detective when he stepped into the spotlight in the claustrophobic novel Artificial Respiration, published in Argentina in 1981 and in the U.S. in 1994, a searching look at Buenos Aires during the reign of the generals. Here, in notebooks begun decades earlier but only shaped into a novel toward the end of Piglia's life, Renzi is struggling to forge a career as a writer. He has a lot going for him: he has the predisposition to what is, after all, “an obsession, a habit, an addiction,” and he has the capacity to endure the days and nights of endless boredom that the poverty of writing can yield, broken by piles of books and visits to the casino, where he wins a few pesos here and there. “I have, finally, lost my interior life,” he sighs, returning to the grind of reading philosophy and literature, thinking great thoughts about space and time, and taking in Bergman films. Were it not for the starvation, it might make an agreeable life, but as Renzi’s diaries unfold, it’s pretty clear why he might want to find regular work tracking down disappeared intellectuals and murdered trade unionists; apart from the gambling income, he’s got to chase down scant paychecks from universities and publishers and scrape by on anthologizing, forcing him into the indignities of stretching out invisible money to cover very visible needs. “Everything consists of assessing those pure instants, at times when life no longer makes sense,” he laments. The story takes a few detours into the meta—it’s a nice turn that Renzi, himself a fictional writer, learns “what I want to do from imaginary writers. Stephen Dedalus or Nick Adams, for example”—but is mostly straightforward, reading just like the diary it purports to be.
Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia, who died at the beginning of 2017.Pub Date: Nov. 7, 2017
ISBN: 978-1-63206-162-1
Page Count: 384
Publisher: Restless Books
Review Posted Online: Aug. 19, 2017
Kirkus Reviews Issue: Sept. 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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