France | French | Novel (excerpt)
September, 2007Anne Garréta's La Décomposition, written over a four-year period and published in 1999, is the story of a serial killer. However, given that the author is a member of Oulipo, and the killer well versed in literature, we shouldn't be surprised to discover that victims are chosen from among the characters in Proust's In Search of Lost Time. Their flesh-and-blood counterparts are hunted in a contemporary Paris of video arcades, bars, and shadowy corners by the Seine. As the murderer dispatches the victims, their fictional counterparts are eliminated from a digitized version of Proust's magnum opus. Every reference to the “murdered” character is expunged from the book, reducing the novel's length with each fresh kill. To complicate matters, the philosophical and ruminative killer, who is, disturbingly, also the book's narrator, chooses these victims on the basis of a grammatical rule: they must agree in gender and number with the character in the novel. Otherwise, they are chosen randomly.
As should be obvious in a book with such a literary plot device, albeit a quirky one, La Décomposition is not simply the story of a serial killer, even a well-read one. For along with the victims, the narrator is also murdering Proust's novel, lopping off body parts bit by bit, cutting it down to manageable size. At one point in the beginning of the book, the narrator even comments, “For life is too short, and Proust is too long.”
In the novel two ideas widely found in twentieth-century literature are merged: the perfect crime and the gratuitous act. Through their amalgam the murderer hopes to raise murder to a fine art, to blend fiction and reality. And what better way to do so than to use a literary masterpiece as the scaffolding for one's crimes? For, in doing so, murder will wrap itself in the aesthetic mantle of the fine arts. But ethics is lost in aesthetics.
Filled with dark humor and dense, classically tinged prose, La Décomposition is ultimately not about serial killers but the role of the reader. For Garréta not only cuts Proust down to size, she questions literature's complicity with violence. In allowing us to identify with a murder, even a fictive one, literature provides a way for us to identify with evil, to absorb it through our sympathy with a character. In what is ultimately a profoundly ethical book, La Décomposition questions the mechanisms used by fiction to enable us to experience violence from within, vicariously, safely.
(Robert Bononno)
German | Germany | Novel (excerpt)
September, 2007It is heating up in a small village in the flat hinterlands. The villagers spend their weekends bathing at the gravel pit and when a new villager, the beautiful Miranda, appears from the water, a group of friends find their relationships changing. Both Victor, recently jilted by his girlfriend, and his friend, the older, married artist Rudolf, woo her desperately. Their friend Asta is a life-coach who lectures to businessmen around the country and yet is falling apart inside as she loses all contact with her children who live with their father in Berlin. She cannot understand the men's fascination for this pretty normal looking woman. Nor can Rudolf's wife Emma, who after a whole life with Rudolf is starting to realize she has sacrificed her own life for his, all for nothing it seems. Miranda herself is married, but no one has met her husband. As passions and tensions flare, a spate of animal killings begins, and Mr Allyours, a hare, and Fledgling McFeather, a heron, decide to solve the mystery. McFeather has the laudable motives of making their community safe again, and he is not impressed with Mr Allyours' motives: he is besotted by a young doe, Lady Why, and wants to capture the killer to prove his love to her.
(Stefan Tobler)
Drama (Excerpts) | France | French
September, 2007A woman struggles to reclaim her identity after a violent event leaves her stripped from her sense of self. Written as a monologue, Jaz transcends its form by distancing the character from herself—being both the character and outside of the character—and by engaging dialogue with a musical instrument.
(Chantal Bilodeau)
The Brooklyn Rail welcomes you to our web-exclusive section InTranslation, where we feature unpublished translations of fiction, nonfiction, poetry, and dramatic writing. Published since April 2007, InTranslation is a venue for outstanding work in translation and a resource for translators, authors, editors, and publishers seeking to collaborate.
We seek exceptional unpublished English translations from all languages.
Fiction, Nonfiction, and Poetry: Manuscripts of no longer than 20 pages (double-spaced).
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