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Category Archive for 'Experimental'

In one of the wildest, most creative, and surprising literary novels of the year, French author Camille Laurens plays with reality and virtual reality on all levels and involves the engaged reader in the action as it occurs. The novel opens with a mysterious two-page Prologue, written in stream-of-consciousness style, a deposition from the Police Headquarters archives of a city in France, by a woman claiming to be an academic with a background in women’s issues and history. Her stream of consciousness raving has no context for the reader just beginning the novel (though it makes sense when re-read after the conclusion). The opening chapters of the book, not in stream of consciousness, begin with interviews between Claire Millecam and Dr. Marc B., as she reveals her academic background and her experience in the theatre. Though Dr. Marc B. is new to her, she has been “here” for two and a half years, and she, now almost fifty, tells him that “it’s his job to resuscitate me to rewire my circuits.” The doctor wants her to talk about “Christophe, the corpus delicti or rather the corpus so delectable he broke my heart.” She made Chris her Facebook Friend because he was the roommate of her former lover with whom she thinks she is still in love. Soon, however, she is falling in love with Chris and he with the persona of the 24-year-old girl whose photo she posted online. The reader is soon involved in a complex play of various types of reality: the reader’s reality; the reality of the main character, Claire; the reality of the action as it unfolds, and the virtual reality of Facebook. Surprises galore as the author involves the reader in drawing conclusions.

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Michael Cunningham’s ten tales, distortions of fairy tales we have all heard as children, will make most readers smile in recognition and sometimes sardonic glee, while annoying some traditionalists who would like to preserve intact their memories of an idyllic childhood. All readers will probably agree, however, that Cunningham’s interpretations of these stories deserve the more serious thought that none of us were able to accord them when we were much younger. Including stories based on Hansel and Gretel, Jack and the Beanstalk, Snow White, Rumplestiltskin, Beauty and the Beast, Rapunzel, and several other less famous tales, Cunningham begins by examining the answer to the real, unasked question which haunts the traditional fairy tale conclusions. The convenient “And they lived happily ever after” no longer applies here, as Cunningham employs reason and some dark humor to develop the tales in more modern and more surprising ways. With these stories, we get the answers to “And then, what?” The joys and burdens of fate, the delights of dreams fulfilled and the horrors of dreams destroyed, the ability to survive life’s vagaries and the need to accept some things that cannot be changed are all themes here which make Cunningham’s depictions of life in these new tales feel more honest than the fairy tales they emerge from, and, certainly more fun for adult readers, many of whom have outgrown the black and white tales of the past.

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Author Eugen Ruge grew up in East Berlin during the time of the Berlin Wall and lived there till the age of thirty-four, leaving the East for the West a year before the Wall fell, and perhaps it is this background which enables him to create a main character like Peter Handke. Handke is disconnected from those around him, alienated, his profound loss of motivation preventing him from making changes in his own world. Like the author, Handke is also a man from Berlin, one who has just lost his girlfriend and his sense of direction, and he has decided to start over in a new country. Not as young as he seems, he is a former professor of chemical engineering with a well-paid, permanent position, one he has recently resigned in order to become a writer. A novel of absurdity which sometimes borders on the bizarre, Cabo de Gata (“Cape of the Cat”) begins with Peter’s travels from Basel to Barcelona and then on to Andalusia, the southernmost region of Spain. Peter Handke is not a “hero” or even an anti-hero. He is too neutral and uncommunicative to attract the long-term interest of the reader, and his journey is a solitary one, with no antagonist, other than life itself, to fight him. He raises questions but does not come to many conclusions, and those he does draw are often offbeat and darkly comic. The novel ends without a clear resolution, adding to the feeling that this novel defies all the “rules” and presents itself on its own terms. Readers who can be satisfied with letting the novel unfold in its own way will enjoy this unusual and often humorous creation which offers more than mere laughs.

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For long-time readers of this website, it will be no secret that I regard James Sallis as far more than the “noir mystery writer” that he is often labeled. A specialist in spare, minimalist writing that is compressed, incisive, and often metaphorical, he is a writer who takes literary chances and whose recent work has been as experimental as it has been insightful. One of the best literary writers in the United States, in my opinion, Sallis has always been concerned with questions of innocence and guilt, strength and weakness, and the past and its effects on the present and future. He creates often sad, damaged characters doing the best they can in a noir atmosphere in which they must fight their own demons in order to have any chance of success. His main characters make mistakes, sometimes big ones, but at heart they have an intrinsic sense of honor despite their closeness to violence. Main character Lamar Hale, a physician who has lived in Willnot for many years, is one of over thirty characters introduced in the first thirty-two pages, illustrating the fact that there are no strangers in Willnot – Hale knows everyone. As Sallis individualizes these characters, Hale’s feelings about them become clear and the reader comes to know the town well. Many have secrets, including Lamar Hale himself. The arrival of a mysterious former resident and the discovery of a mass grave set the action in motion.

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In an electrifying novel that uses simple images and straightforward, often abbreviated thoughts to create deep emotions and subtle themes, debut novelist Max Porter revitalizes the whole concept of the novel, creating a work that is so unorthodox and so difficult to describe in its structure that it sometimes verges on the bizarre. Despite the constantly changing structural elements, however, the voices of Dad and his Boys remain direct, unpretentious, and completely realistic as they tell of their reactions to the sudden death of their wife and mother from an accident which has left them overwhelmed by events and not sure how to react or acknowledge what they feel. In a consummate irony, Dad, an academic writer, has been working on a book, overdue at the publisher, called Crow on the Couch: A Wild Analysis, which examines the poems of Ted Hughes following the death of his wife, Sylvia Plath. It’s been five days since the death, and Dad and the boys are alone now. All the family and visitors have left, the boys are asleep, and “Grief felt fourth-dimensional, abstract, faintly familiar. Suddenly the doorbell rings, and when Dad opens it, “there was a crack and a whoosh and [he] was smacked back, winded, onto the doorstep…There was a rich smell of decay, a sweet furry stink of just-beyond-edible food, and moss, and leather, and yeast.” He is lifted above the tiled floor and finds feathers between his fingers, in his eyes, and in his mouth. Crow has arrived. With Crow incorporating wild and unexpected elements, including humor, into this book about grief, the novel explores death and its aftermath in new ways. Unique and intriguing.

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