Author: David Hebblethwaite

The White Book – Han Kang

1st August 2018 / / 3 Comments

August is Women in Translation Month (established by Meytal from Biblibio), and I have a few books lined up to read (some of which will also fit into Spanish and Portuguese Lit Months). We’ll see what I can get through, anyway. I thought I would start with a book that I didn’t manage to review during this year’s Man Booker International Prize shadowing.

Han Kang has swiftly become one of my favourite writers (she topped my “books of the year” list two years running, after all). The White Book is a little different from The Vegetarian and Human Acts, more abstract. It’s structured as a series of vignettes on white things, from swaddling bands to salt, frost to light and paper. There are images of a white city, destroyed during the Second World War and then rebuilt (though not named, this city is Warsaw, where Han spent time on a writer’s residency).

There is also a certain figure haunting this novel: Han’s narrator (a version of the author herself) describes how her mother’s first child, a girl, died only a couple of hours after being born:

Person who begins only now to breathe, a first filling-up of the lungs. Person who does not know who they are, where they are, what has just begun.

(translation by Deborah Smith)

The narrator begins to think of this dead sister as she walks the white city. She imagines a life for her, which is what fills the longest section of the book:

There are times when the crisp white of freshly laundered bed linen can seem to speak. When the pure-cotton fabric grazes her bare flesh, just there, it seems to tell her something. You are a noble person. Your sleep is clean, and the fact of your living is nothing to be ashamed of.

Throughout the book, there is an undercurrent – which sometimes, as here, bubbles to the surface – focused on the question of what it means for the narrator to have brought this “she” into (imagined) being. The implications of this are powerful.

As I always find with Han Kang’s writing (with Deborah Smith’s translation, too), there are moments when The White Book just slips straight in and cuts like glass. This, perhaps above all, is why I read fiction: that deep reaction to writing, which electrifies the nerve endings and makes living more intense.

Book details

The White Book (2016) by Han Kang, tr. Deborah Smith (2017), Portobello Books, 162 pages, hardback (source: personal copy).

Death in Spring – Mercè Rodoreda

30th July 2018 / / 1 Comment

Mercè Rodoreda (1908-83) was a new name to me, but more or less everything I’ve read about her says that she’s widely considered to be the foremost Catalan writer of the 20th century. Death in Spring was originally published posthumously, in 1986. Martha Tennent’s English translation was published in the US by Open Letter Books, and now it has been issued by Penguin in the UK as first in a series called Penguin European Writers.

Our narrator is a boy living in a mountain village with a number of strange, sometimes brutal customs: every year, a man is chosen to swim under the village in order to check that it will not be washed away by melting snow; this may result in disfigurement or death if the man is dashed against the rocks. Pregnant women are blindfolded from fear that their unborn children will take on the appearance of any men the women may see. When a villager nears death, they are sealed inside a tree with cement poured down their throat; this happens to the narrator’s father towards the start of the book.

Images of death, decay and decline run through Rodoreda’s novel, along with a vivid sense of the natural world, all written in calm and measured prose. Here, for example, is a description of autumn arriving in the village:

The sickly stems that had held the leaves all summer were now devoid of water, and they thudded to the ground as well. The leaves were blown down and swept away. We waited for the last to drop so we could rake them into piles and set fire to them. The fire made them scream. They screamed in a low voice, whistled even lower, and rose in columns of blue smoke. The smell of burnt leaves pervaded houses and air. The air was filled with the cessation of being.

The cover blurb notes that Death in Spring can be read as an “allegory for life under dictatorship”, and I can absolutely see that: those ritualistic customs, for example, have a damaging hold over the village, and the only person who seems to understand this (or simply to be willing to speak against them) is a prisoner. Equally, though, the novel is a powerful portrait of an individual trying to find his way through life in a place where there’s excessive direction and little guidance.

Book details

Death in Spring (1986) by Mercè Rodoreda, tr. Martha Tennent (2009), Penguin, 150 pages, paperback (source: personal copy).

Reading The Rings of Saturn: week 3

29th July 2018 / / 0 Comments

It’s time for the third and final round-up of my contributions to the Twitter discussion of Sebald’s The Rings of Saturn, organised by Robert Macfarlane. As before, I’ve included some of Macfarlane’s question prompts for context. The first two instalments of this blog series are here and here.

***

Chapter VIII ends on Orford Ness, a shingle spit formerly used for military testing. How do you (close-) read what happens in these extraordinary pages?

It reads to me like an inversion of the typical passage in The Rings of Saturn where Sebald will go somewhere and recount a memory. Here we have a photo of the bridge to the site, framed as though a parody of a country house;but instead of recounting a story, Sebald is confronted by the limits of what he can understand about this place. It becomes another example of the recurring theme of humans not being able to comprehend the broader picture of destruction.

The farmer building a model of the Temple of Jerusalem at the start of chapter XI of The Rings of Saturn reminded me (not necessarily appropriately!) of Tom McCarthy’s Remainder, when he talked about needing to build in ever greater detail to be accurate.

What are the implications of the closing pages (and sentences) of The Rings of Saturn? What aftermaths will this book leave for you?

The ending caps off some of the book’s main themes – for example, drawing the darkness out of something as seemingly ordinary as silk.

The final image haunts me: Sebald has repeatedly suggested that flying above/gaining an overview of something does not provide understanding. Now a soul departs its body and sees nothing of the world as it rises, because all is draped in black.

One thing that has struck me reading The Rings of Saturn is that I never once thought of it as fiction. I’m used to novels that blur the line (such as Knausgaard, or Cercas’ The Impostor), but for some reason The Rings of Saturn always read to me as non-fiction. I’m still not sure why.

In response to this last tweet, Tom of Wuthering Expectations pointed out to me that parts of Sebald’s book (such as the Chinese Emperor’s train running on a line in Suffolk) are actually made up. I had no notion of this, and of course it settles the “fiction or non-fiction” question. Yet it’s so hard to shake off my abiding impression of the book; I that’s down to the power of Sebald’s style.

***

I have to say, I found this Twitter discussion an enjoyable and valuable way of engaging with the book. I don’t know what I would have made of The Rings of Saturn had I been reading it ‘solo’, but I do know that I wouldn’t have got as much out of it as I did.

(‘Blogging as I go’ has also been interesting to do, even just as a series of weekly round-ups. I might experiment with the format a bit more in future.)

Book details

The Rings of Saturn (1995) by W.G. Sebald, tr. Michael Hulse (1998), Vintage Classics, 296 pages, paperback (source: personal copy).

The Last Day – Jaroslavas Melnikas

25th July 2018 / / 0 Comments

From my point of view, it’s been a good year for new story collections. Now, admittedly, I’ve only read three, but all have been superb. First, there was Mothers by Chris Power, then, more recently, Lucy Wood’s The Sing of the Shore. My third collection is the latest Lithuanian title from Noir Press, and the English-language debut by Ukrainian-Lithuanian writer Jaroslavas Melnikas.

Across these eight stories, Melnikas’ protagonists will typically be nondescript individuals to whom something extraordinary happens, and they’ll have cause to reflect on what this means for their life. For example, the narrator of ‘On the Road’ receives a call from someone telling him to go to a certain place. When he arrives, there’s someone with directions to another place, where our man receives further directions, and so on, and so on. Food and lodgings are provided wherever the protagonist goes, by strangers who have been asked (by persons unknown) to help him. This guy may not know where he’s going or why, but he likes it:

Though my life is no longer my own, I feel I’m doing something important here. Everything that happens is important. And to be honest, it’s none of my business what it’s all about. I can sense the importance of it. Something inside me has lit up.

(translation by Marija Marcinkute)

The narrator has left his wife and daughter to go on his strange odyssey, and the story examines what it is to step away from one’s existing life. In the case of this character, he has effectively moved into a parallel world – but there are consequences for both him and those left behind, which he will have to confront eventually.

In ‘It Never Ends’, the long story that closes the book, Volodia also steps away from his everyday life, though in a rather different way. He finds an old cinema showing a strangely compelling film about a woman called Liz. This film runs constantly, 24 hours a day, but Volodia can’t find out anything about it, nor about who runs the cinema. Still, he’ll go there all hours to find out what’s happening to Liz; and he notices other regulars, particularly a young woman referred to only as “the scarecrow”, with whom he embarks on an ambiguous relationship, bonding over their mutual obsession with Liz’s story.‘It Never Ends’ twists the magic of the movies into something more sinister:

Ordinary life, which was easy to understand with its decent laws, seemed suddenly banal. I’m not saying it was entirely comfortable, in that poorly-lit auditorium, standing next to the little scarecrow who kept pulling on her already too-long nose. It was far from comfortable. Everything was opaque, strange, and my nerves were as tense as a string. I no longer understood who I was or what, to be honest, I was doing there.

I must admit I’m uncomfortable with the characterisation of the scarecrow in this story: both she and Volodia clearly have deep holes in their lives, but it feels as though she’s only really there to help him heal. Even so, ‘It Never Ends’ left me with the dizzying feeling of having my imagination cast into new shapes.

Although many of Melnikas’ stories touch on the fantastical, ‘Would You Forgive Me?’ applies his typical approach to a more down-to-earth situation. The narrator of this piece shoots a man who climbs through his bedroom window one night, and the intruder dies. The protagonist’s wife, Liuba, immediately brands her husband a murderer; the story is his attempt to come to terms with what has happened: “What kind of person was I? What was I supposed to have done then?” Melnikas traces how, over time, the event changes meaning for Liuba and the narrator.

The tales in The Last Day tend to focus on individuals or small groups of characters, but the title story has implications for the whole world. Books are published listing everyone’s time and date of death, with apparently complete accuracy. So, what does it mean for life if you know exactly when you and your loved ones will die? Melnikas offers a number of thoughts on what people broadly might choose to do – such as grand ‘leaving parties’, or children getting picked on because they’re going to die young. But his main focus is on one family, and their changing experiences of life and death:

The most interesting thing was that we never spoke about the topic again, and nothing changed, nothing at all; we even had quarrels about trifles, like before. Only, occasionally, I would remember that if we trusted that damn Book of Fates, time was ticking… It was a nightmare; you knew the hour of your death exactly and couldn’t do anything about it.

I thoroughly enjoyed reading The Last Day; its combination of reflection and light unreality was right up my street. If that’s also your kind of thing, take a look at this book.

Book details

The Last Day (2004) by Jaroslavas Melnikas, tr. Marija Marcinkute (2018), Noir Press, 175 pages, paperback (source: review copy).

Reading The Rings of Saturn: week 2

23rd July 2018 / / 0 Comments

Here is the second weekly round-up of my contributions to Robert Macfarlane’s Twitter reading group on The Rings of Saturn by W.G. Sebald (my first round-up is here). As before, I have made only minor edits to my tweets, and have included some of Macfarlane’s daily questions for context. By the end of this week, I had read the first seven chapters of the book in total.

You can find the discussion on Twitter under the hashtags #TheReadingsofSaturn and #TRoS.

***

The German subtitle of The Rings of Saturn, left out of the English translation, is ‘Ein Englische Wallfahrt’; ‘An English Pilgrimage’. What does walking lead to here? What is its ‘work’, what are its natures? What kind of pilgrimage is this?

Walking seems to be a means of moving into and through a place/situation, in order to gradually uncover it (if not necessarily to understand it – see Sebald’s walk into Lowestoft, for example). I think he places walking in opposition to having an overview (flying over something).

Having said that, the book lives in my mind most vividly as a mental journey, rather than as an account of a walk.

Silk & sericulture thread through The Rings of Saturn; text & textile interweave. “That…silk…what does it mean?”

I think most of the references to silk are yet to come in my reading, but so far I associate strongly with images of death – for example, the Celestial King’s body held together only by his silken robes, or the silk fishing nets full of dead herring.

The Rings of Saturn is an overwhelmingly, if not exclusively, male book in terms of narrator, characters & cross-references…What, for you, are the consequences of this skew?

Normally I would say it makes for too partial a view. But I can’t help thinking that, because The Rings of Saturn is such a personal, idiosyncratic account (i.e. not purporting to be a survey of anything in particular) that any range of references would have come across as just as partial.

Still, this is an issue I want to bear in mind for the rest of the book – I might change my mind once I’ve seen the shape of the whole.

Roger Casement & Joseph Conrad: to what ends the long excursus into their lives in Chapter V of The Rings of Saturn? Why the many mediations (we enter their stories through a ‘BBC documentary’)? And why close the chapter with Casement’s signature?

Casement/Conrad feels to me like an interlude in the journey (it’s inspired by a period of rest, not walking) and an underlining of key themes (mortality and atrocity).

Perhaps ends with Casement’s signature to signify a reconstruction of his life, or agreement with him.

What are the functions of listening and hearing in The Rings of Saturn, which is in many ways such a heavily visual book?

(My answer here was in response to a tweet from @__synaesthesia, who commented on how often sounds in Sebald’s book were silenced.)

I have also been struck by the silences in The Rings of Saturn – Sebald and Michael Hamburger talking about the “soundless month of August”, Le Strange’s housekeeper having to eat with him in silence, and so on. Silence in the book often seems tense rather than peaceful.

James Wood, in this essay, argues for Sebald as a surprisingly funny writer, with “an eccentric sense of playfulness”. Do you agree? How far & where do “gravity” & “levity” coexist in The Rings of Saturn?

I think there’s a sense of playfulness in Sebald’s whole structure, building up these idiosyncratic digressions into something that’s ultimately serious. Chapter by chapter, there’s also playfulness in the juxtaposition of different subjects within a passage.

Book details

The Rings of Saturn (1995) by W.G. Sebald, tr. Michael Hulse (1998), Vintage Classics, 296 pages, paperback (source: personal copy).

Reading Borges: Pierre Menard, Author of the Quixote

21st July 2018 / / 2 Comments

This story takes the form of an article about one Pierre Menard, a novelist who sought to re-create Don Quixote word for word – not by merely copying the text, but by getting himself into such a state of mind as to write the Quixote exactly as Cervantes would have written it. Menard succeeded, and Borges’ anonymous narrator has great praise for his Quixote, in comparison to Cervantes’ original. In one of my favourite parts of ‘Pierre Menard’, the narrator compares (identical) passages from the two Quixote texts, finding a depth and richness in Menard’s rendition absent from Cervantes’, thanks to the different contexts of their composition.

I found this story delightfully absurd, but it’s a particular pleasure to consider the multiple layers of authorship and interpretation within it: Cervantes, Menard, the narrator, then Borges (and then the reader, of course). For example, Menard may have his aspirations, but it’s the narrator who gives him legitimacy by judging Menard’s project successful. Yet, from the reader’s viewpoint (or mine, at least), there’s no difference between Menard’s Quixote and Cervantes’ so Menard comes across as somewhat of a Quixote figure himself, with delusions of grandeur. Or maybe it’s the narrator who is a Quixote figure for his opinion of Menard. Layers of interpretation…

Read my other posts on Borges’ stories.

Book details

‘Pierre Menard, Author of the Quixote’ (1939) by Jorge Luis Borges, tr. James E. Irby (1962), in Labyrinths (1964 edn), Penguin Modern Classics, 288 pages, paperback (source: library copy).

The Sing of the Shore – Lucy Wood

18th July 2018 / / 4 Comments

Over the last few years, Lucy Wood has been creating her own distinctive fictional worlds of Devon and Cornwall. Although the general settings are recognisable, the places are rarely named, which to me always gives a feeling that the worlds of Wood’s stories are unbound. Each of her books has had a different focus: the stories in Diving Belles have foundations in folklore; the novel Weathering revolves around the relationship between characters and raw landscape.

Now we have Wood’s second story collection, The Sing of the Shore, which is an evocation of Cornwall off-season. An epigraph explains the book’s title: “the sing of the shore” is the varying sound of waves as they break against different surfaces (sand, pebbles, etc.), which enables experienced fishermen to tell where they are even when it’s foggy – in other words, it represents the secret soul of a place, known to locals but not to outsiders. Unlike Diving Belles, there’s only a relative tinge of the supernatural in this book – but the sense of otherworldiness running through Wood’s work is as strong as ever.

In these stories, the place gets in everything:

There’s sand everywhere around here. When you walk in the wind, grains crunch against your teeth. We’re out on the edge of town, where the cliffs start to crumble and turn to sloping dunes. The dunes are heavy and soft, like flour in a bowl. They never stay still. They slip and shift about; sometimes growing, sometimes flattening out. When the gales come, loose sand blows down the road and heaps at our front doors.

This is from the story ‘Salthouse’, which begins with teenagers Evie and Gina going to plant their Christmas trees in the sand, as most people in the area do, in order to keep the dunes in place. On the way there, Gina suggests visiting the fair, yet seems reluctant to join in with Evie. It transpires that Gina has arranged to meet a boy, and Evie’s time at the fair becomes a kinetic dismantling of the childhood she thought she still had. Except, as the ending makes clear, some things don’t change: the sand is still there, advancing and receding as ever.

‘The Dishes’ provides another example of how Wood layers character and metaphor with a lightness of touch. In this story, Jay has moved to Cornwall with his wife Lorna for three months, where she has been seconded to a satellite ground station. Jay spends his time looking after the couple’s baby; since Lorna can’t talk about her work, a lack of meaningful conversation is getting to Jay (“All he wanted was to speak to someone and not have them say forofoo, or whatever the hell it was, back”). There are mysterious comings and goings at the neighbouring house, which also make him anxious. Wood paints an elegant study of a man succumbing to paranoia, out of little more than baby talk and next door’s phone ringing.

There’s a great range of tone among the stories in The Sing of the Shore. ‘One Foot in Front of the Other’ invests a tale of a woman crossing fields and dodging cows with an atmosphere of genuine menace. ‘Way the Hell Out’ turns a conversation about a mysterious figure seen from a house into something of a shaggy dog story. ‘A Year of Buryings’ is a wry catalogue of the dead, who may persist (“Now someone’s tapping on windows. Who is it? It’s Jameson with his stick, out in the rain again, trying to remember where he used to live”); it reminded me of ‘Notes from the House Spirits‘ in Diving Belles. ‘By-the-Wind Sailors’ ends the volume on a melancholy note, with the story of a couple forced by circumstance to flit from house to house. A certain sense of transience may run through Wood’s tales in this book, but the stories themselves linger long in the mind.

Elsewhere

Watch Lucy Wood reading from the story ‘Home Scar’.

Read other reviews of The Sing of the Shore at Shiny New Books and Caught by the River.

Book details

The Sing of the Shore (2018) by Lucy Wood, 4th Estate, 230 pages, hardback (source: personal copy).

Reading The Rings of Saturn: week 1

17th July 2018 / / 2 Comments

Robert Macfarlane is currently hosting a Twitter reading group on W.G. Sebald’s The Rings of Saturn. I bought a copy last year and hadn’t yet read it, so this seemed an excellent opportunity. I thought I would collect my thoughts together on the blog as I go, to form a kind of reading diary.
For those unfamiliar with the book, it begins as an account of a walk from Lowestoft to Bungay, undertaken by Sebald in August 1992 – but it also includes digressions into memoir, history and science. I’ve added a little to my tweets here for clarification, but have not expanded on them. I have included some of Macfarlane’s daily questions in italics. Finally, if you’re interested in following (or participating in) the Twitter discussion, search for hashtags #TheReadingsofSaturn or #TRoS.

(Apologies for any strange formatting – I can’t seem to save the paragraphs correctly.)

***
This is my first time reading The Rings of Saturn (and Sebald in general). Opening impressions are how fluidly it moves from outdoors to claustrophobic interior, through literature, art and biology, all hanging together with the underlying theme of mortality.
And extraordinary images, such as the academic Janine Dakyns’ office full of paper:

The carpet, too, had long since vanished beneath several inches of paper; indeed, the paper had begun climbing from the floor, on which, year after year, it had settled, and was now up the walls as high as the top of the door frame, page upon page of memoranda and notes pinned up in multiple layers, all of them by just one corner. Whenever it was possible there were piles of papers on the books on her shelves as well.

(translation by Michael Hulse)

I found the opening quite disorienting: the sudden leaps from a coastal walk to immobility in hospital to compiling notes, each leap a year apart. I wasn’t expecting it to start that way.
The images are interesting… ostensibly illustrations, yet not. I mean, the first one in the book is of a blank hospital window! Even when they show, say, a street or coastal landscape mentioned in the text, the images feel somewhat disconnected.
Does “place” survive as stable category or surface here?
In what I’ve read so far, there tends to be a relative glimpse of Suffolk landscape, then Sebald will go into a more detailed scientific or historical anecdote. Makes memory/history seem more stable than landscape.
I love this description of the fishermen (on the beach a few miles south of Lowestoft) in chapter III: “They just want to be in a place where they have the world behind them, and before them nothing but emptiness.”
What other works does the book evoke for you?
I find myself thinking of Enrique Vila-Matas, and a book like Never Any End to Paris which confronts a real place with its counterpart in the imagination.

How does Sebald’s style cast its strange spell? How does it work (on you)?

A discursive, measured prose style that at times lulls me into assuming it’s documentary… then it will shift into something that goes beyond facts and imprints itself on the mind.

I’ve just read chapter IV, and that whole passage on naval battles and our inability to comprehend the suffering really struck me.

Where, in this book so drawn to human darkness, does guilt seem to reside?

So far as I’ve read, guilt seems to reside at all levels, depending on where Sebald’s focus lies at a given time. When he’s taking an overview, it’s often systems and ideologies who are guilty, but with individuals who knew what was happening.

Places might be guilty by association – the end of chapter IV could even be said to make outer space complicit in a human atrocity.

The “vanishing point” & “the view from above” are the two commonest perspectives in The Rings of Saturn. What are their implications for reader & narrator? How do we “see” in this book?

“If we view ourselves from a great height, it is frightening to realise how little we know about our species, our purpose and our end…”

Generally, an ‘overview’ implies knowledge of a situation, but I think for Sebald it’s the opposite.

Book details

The Rings of Saturn (1995) by W.G. Sebald, tr. Michael Hulse (1998), Vintage Classics, 296 pages, paperback (source: personal copy).

Reading Borges: The Garden of Forking Paths

12th July 2018 / / 2 Comments

I think that, somewhere in the back of my mind, I must have a list of authors who I feel are almost Too Famous To Read, let alone Too Famous To Write About, for fear of having nothing original to think or say. I know this is absurd, because a) if I want to read a given book, there’s not much to stop me, and b) the point of writing this blog is to talk about my experience of reading books – something personal to me – not to pass an exam.

Anyway: I need to get over having this list of authors Too Famous To Read. Jorge Luis Borges was on it, but now I’ve borrowed a copy of his Labyrinths: Selected Stories and Other Writings from the library for Spanish and Portuguese Lit Months. I’m going to blog some thoughts on what I read, and see how it goes.

In ‘The Garden of Forking Paths’, Dr Yu Tsun – a Chinese scholar of English and agent of the German Empire during the First World War – is pursued by a mercenary in the pay of England. Tsun travels to the house of one Dr Stephen Albert, the only person he knows who can help him get his secret message to the Chief. Albert and Tsun discuss Tsun’s ancestor, Ts’ui Pên, who constructed a model of the universe as a labyrinth of paths, each forking at a point of possibility, creating new paths and futures with each eventuality.

It feels a little odd to read this story now, as a long-time reader of science fiction and fantasy, and therefore used to the idea of parallel worlds and branching realities (I’m assuming, of course, that these ideas would have been reasonably new to Borges’ audience in 1941). Still, there is a strong sense of Yu’s being at the centre of a labyrinth of pasts and possible futures – for example, as a point where the paths of the past collapse into the present (Yu says that he thinks his Chief disdains the Chinese “for the innumerable ancestors who merge within me”). But then there’s the ending, where all potential futures dissipate, and one reality was inevitable after all.

Book details

‘The Garden of Forking Paths’ (1941) by Jorge Luis Borges, tr. Donald A. Yeats (1958), in Labyrinths (coll. 1964), Penguin Modern Classics, 288 pages, paperback (source: library copy).

The Iliac Crest – Cristina Rivera Garza

10th July 2018 / / 1 Comment

Today’s book is a short, strange and slippery novel from Mexico, only the second novel by Cristina Rivera Garza to appear in English. At the start, two women visit, and take up residence in, the unnamed narrator’s house. One claims to be the writer Amparo Dávila, and says she knows the narrator from when he was a tree. The second woman is an ex-lover of the narrator’s, referred to only as “the Betrayed”. The two women begin to speak to each other in a private language, and tell the narrator that they know he’s really a woman. Feeling threatened, the narrator decides to find out if his visitor really is Amparo Dávila – but this sets him on a course that will lead him to question what he thought he knew.

In her introduction, Rivera Garza refers to Amparo Dávila as a writer who has been marginalised in real life. In the novel, Amparo tells the narrator that she is writing about her disappearance – and disappearance is treated as a contagion. The narrator realises that he is part of a community of the disappeared:

And disappeared were our voices, our smells, our desires. We lived, if you will, in the in-between. Or rather, we lived with one foot in the grave and the other on terrain that held only a minute resemblance to life. Very few knew about us and even fewer worried about our fate.

(translation by Sarah Booker)

By treating social marginalisation as a communicable disease, Rivera Garza externalises it, in a way that enables her vividly to blur the boundary between marginalised and ‘mainstream’. Other boundaries are also challenged throughout the novel: boundaries of gender, for example, or the line between concrete reality and abstract conception. The experience of reading The Iliac Crest is fluid and disorienting.

Book details

The Iliac Crest (2002) by Cristina Rivera Garza, tr. Sarah Booker (2017), And Other Stories, 144 pages, paperback (source: review copy).

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