Friday, April 1, 2016

Table of Contents

AUTHORS INCLUDED (alphabetical listing)

Kathy Acker (USA)
"Grandmother to the Brat Pack" (on Acker's Literal Madness and Florida), by Douglas Messerli

James Agee (USA)
"The Silent Stars Go By" (on James Agee's A Death in the Family), by Douglas Messerli
"Invention Serves Remembrance" (on Agee's A Death in the Family: A Restoration of the Author's Text), by Douglas Messerli

César Aira (Argentina)
"Appropriations" (on Aira's The Literary Conference) by Douglas Messerli
"The Last Innocent Moment" (on Aira's An Episode in the Live of a Landscape Painter), by Douglas Messerli
"Attending the Dead" (on Aira's Ghosts), by Douglas Messerli
"A Gap in the Wall" (on Aira's How I Became a Nun), by Douglas Messerli
"The Elements of Fiction" (on Aira's The Seamstress and the Wind), by Douglas Messerli

Eliseo Alberto (Cuba/USA)
"Responsible Parties" (on Alberto's Caracol Beach), by Douglas Messerli

Tereza Albues (Brazil/lived USA)
"A Bouquet of Tongues"

João Almino (Brazil)
from The Five Seasons of Love

Jorge Amado (Brazil)
"Julio Jurentio and Ilya Ehrenburg"

Eleanor Antin (USA)
from Conversations with Stalin
"Magnificent Obsessions" (on Antin's An Artist's Life by Eleanora Antinova) by Douglas Messerli
"The Third Act" from An Artist's Life by Eleanora Antinova
Review of Antin's Conversations with Stalin, by J. Hoberman

Reinaldo Arenas (Cuba)
Review of Reinaldo Arenas' The Color of Summer, or, The New Garden of Earthly Delights), by Lee Siegel

Ascher/Straus (USA)
from Hank Forest's Party

John Ashbery and James Schuyler (USA)
"Life in Duluth" (on John Ashbery and his Schuyler's A Nest of Ninnies) by Douglas Messerli

Margaret Atwood (Canada)
Review of Margaret Atwood's The Blind Assassin by Merle Rubin

Paul Auster (USA)
"Beyond" (on Auster's Oracle Night), by Douglas Messerli

Gerbrand Bakker (Netherlands)
"Being Alone" (on Bakker's The Twin), by Douglas Messerli

Russell Banks (USA)
Review of Russell Banks' The Angel on the Roof by Paul Binding
"Something to Be Touched" (on Banks' Lost Memory of Skin) by Douglas Messerli

Djuna Barnes (USA)
"Abandonment, Involvement, and Surrender" (on Djuna Barnes' Ryder), by Douglas Messerli

Dennis Barone (USA)
"Precise Imprecision" (on Barone's Precise Machine), by Douglas Messerli

Frederick Barthleme (USA)
Review of Frederick Barthelme's The Law of Averages: New and Selected Stories by Will Blythe
"A Thing of Chance" (on Barthelme's There Must Be Some Mistake), by Douglas Messerli

Charles Baxter (USA)
Review of Charles Baxter's The Feast of Love by Joseph Clark

Marcel Béalu (France)
"Walls"

Jurek Becker (Germany)
Review of Becker's Die Boxer, by Klaus Phillips

Samuel Beckett (Ireland/France)
"Moving Forward by Standing Still" (on Mercier and Camier) by Douglas Messerli
Beckett reading from his fiction Watt

Mario Benedetti (Uruguay)
"Holding In, Holding On" (on Benedetti's The Truce) by Douglas Messerli

Thomas Bernhard (Austria)
"Falling Trees" (on Woodcutters) by Douglas Messerli

Mohammed El-Bisatie (Egypt)
"The Voice in the Chest" (on El-Bisatie's Clamor of the Lake), by Douglas Messerli

Bjarni Bjarnason (Iceland)
Review of Bjarnason's Borgin bak við orðin, by Kirsten Wolf

Jens Bjørneboe (Norway)
"Between Fire and Ice" (on Bjørneboe's Powderhouse)

Adolfo Bioy Casares (Argentina)
"On Adolfo Bioy Casares" by Suzanne Jill Levine

Juan Bonilla (Spain)
"The Shrew Mice"

Jorge Luis Borges (Argentina)
"Borges Walker Wessells" (Wendy Walker and Henry Wessells in conversation on Borges)

Elizabeth Bowen (England)
"Caught in the Whirl" (on Bowen's Eva Trout) by Douglas Messerli)

Jane Bowles (USA)
"Prophets of the Ordinary"(on Bowles' Two Serious Ladies) by Douglas Messerli

Lee Breuer (USA)
"Porco Morto"
"Barnyard Philosophers" (on Breuer's Pataphysics Penyeach: Summa Dramatica and Porco Morto), by Douglas Messerli

Christine Brooke-Rose (England)
Review of Brooke-Rose's Next, by Brian McHale

Laynie Browe (USA)
from The Ivory Tower

Jeremy P. Busnell (USA)
"Bird Talk"

Olivier Cadiot (France)
"The Perfect Servant" (on Cadiot's Colonel Zoo), by Douglas Messerli

Italo Calvino (Italy)
Bibliography of Fiction
Review of Calvino's The Path to the Spider's Nests by David Ian Paddy

Veza Canetti (Germany)
Review of Veza Canneti's Yellow Street, by Harry Zohn

Finn Carling (Norway)
Review of Finn Carling's Gepardene by Tanya Thresher

Louis-Ferdinand Céline (France)
Archival readings of Louis-FerdinandCéline [link]
Review of Céline's Fable for Another Time, by Brian Evenson

Inger Christensen (Denmark)
"Pictures Resembling Creatures" (on Christensen's Azorno), by Douglas Messerli

Hugo Claus (Belgium/writes in Dutch)
"Rickabone's Fault" (on Claus' Desire and The Swordfish), by Douglas Messerli
"The Scream" (on Claus' Wonder), by Douglas Messerli


Marina Colasanti (b. Eritrea / Brazil (writes in Portuguese)
"The Girl Weaver"

Ivy Compton-Burnett (England)
"The Man Who Would Not Die" (on Compton-Burnett's Manservant and Maidservant) by Douglas Messerli
Short Review of Compton-Burnett's The Present and the Past by Douglas Messerli

Gabrielle Contardi (Italy)
Review of Contardi's Navi di carta, by Francesco Guardiani

Robert Coover (USA)
Review of Robert Coover's Gerald's Party by Geoffrey Green

Julio Cortázar (Argentina)
Review of Julio Cortázar's Final Exam, by Gregory Howard

Domício Coutinho (Brazil/lives USA)
from Duke, the Dog Priest
"To the Dogs" (on Coutinho's Duke, the Dog Priest) by Douglas Messerli

Alexis Curvers (Belgium/writes in French)
Short Review of Alexis Curvers' Tempo di Roma by Douglas Messerli

Guy Davenport (USA)
"Writers from the Diaspora of Truth" (on Davenport's The Jules Verne Steam Balloon) by Douglas Messerli

Lydia Davis (USA)
"The Beginning of the Story" (on a reading by Lydia Davis) by Douglas Messerli

Denyse Delcourt (Canada/writes in French)
Gabrielle of the Spirits (on Delcourt's Gabrielle and the Long Sleep into Mourning), by Douglas Messerli

Miguel Delibes (Spain)
from The Holy Innocents

Don DeLillo (USA)
"Hiding Out" (on DeLillo's The Body Artist) by Douglas Messerli

Nigel Dennis (England)
"Transformations" (on Nigel Dennis' Cards of Identity) by Douglas Messerli
Review of Dennis' Cards of identity, by Jessica Winter

Mohammed Dib (Algeria/France)
"A Quiet Man in the Vast and Chattering Desert" (on several books by Dib) by Douglas Messerli

Isak Dinesen (Denmark)
"Lies in a World of Lies" (on Dinesen's Ehrengard), by Douglas Messerli

Michael Disend (USA)
"Rider of the Jade Horse"

Heimito von Doderer (Austria)
"The Walls Come Tumbling Down" (on von Doderer's Divertimenti and Variations) by Douglas Messerli

Jose Donoso (Chile)
"Bodies That Howl and Insult and Grope" (on Donoso's Hell Has No Limits) by Douglas Messerli

José Maria de Eça de Queirós (Portugal)
"The Dreamer and the Critic" (on Eça de Queirós' Correspondencia de Fradique Mendes) by Douglas Messerli

Jean Echenoz (France)
Review of Jean Echenoz' Big Blonds, by Susan Ireland

Ken Edwards (England)
"Us and Them"

Herbert Eisenreich (Austria)
Review of Eisenreich's Die blaue Disel der Romantik, by Thomas H. Falk

Sam Eisenstein (USA)
Review of Sam Eisenstein's Cosmic Cow and Nudibranchia by Joseph Dewey

Willem Elsschot (Belgium/writes in Dutch)
"Cartoon in the Mirror" (on Elsschot's Will-o'-the-Wisp) by Douglas Messerli

Per Olav Enquist (Sweden)
"The Black Flame: Truth in a World of Lies" (on The Royal Physician's Visit) by Douglas Messerli

Jenny Erpenbeck (b. East Germany/Germany)
"Hunger and Thirst" (on Erpenbeck's The Old Child and Other Stories), by Douglas Messerli
Review of Erpenbeck's Visitation, by Christian House

Brian Evenson (USA)
"The Torn Curtain" (on Evenson's The Open Curtain) by Douglas Messerli

William Faulkner (USA)
"Rereading Faulkner" (on Faulkner's The Sound and the Fury) by Douglas Messerli
"The Dreadful Hollow" (on Faulkner's As I Lay Dying) by Douglas Messerli

Raymond Federman (b. France/USA)
"Reflections on Ways to Improve Death"
Review of Federman's Take It or Leave It and The Twofold Vibration by Matthew Roberson
Returning to the Closet (on Federman's Smiles on Washington Square and The Twofold Vibration) by Douglas Messerli

Ronald Firbank (England)
"Firbank as Poet" (on Firbank's Valmouth), by Douglas Messerli

Daniela Fischerová (Czech Republic)
"The Emperor Is an Emperor Is an Emperor" (on Fischerová Fingers Pointing Somewhere Else) by Douglas Messerli

Thomas Frick (USA)
Review of The Iron Boys by Douglas Messerli

Jean Frémon (France)
from The Botanical Garden
Fremon's Island of the Dead

Serge Gainsbourg (France)
Review of Gainsbourg's Evguénie Sokolov by Perry Friedman

Gao Xingjian (China)
Review of Gao's Soul Mountain by Jonathan Levi

Liliane Giraudon (France)
Review of Liliane Giraudon's Fur by Carolyn Kuebler

Witold Gombrowicz (Poland)
"The Serving Class" (on Gombrowicz's Ferdydurke, Bacacay, and Cosmos) by Douglas Messerli 

Jaimy Gordon (USA)
"Horse Sense" (on Gordon's Lord of Misrule) by Douglas Messerli

Juan Goytisolo (b. Spain/lives Morocco)
"Truth-telling in a World of Lies" (on Goytisolo's The Garden of Secrets) by Douglas Messerli

Julien Gracq (France)
Review of Julien Gracq's La forme d'une ville by John Taylor
"The Intrusion" (on Gracq's The Castle of Argol) by Douglas Messerli
"Circling Forward" (on Gracq's The Peninsula) by Douglas Messerli

"How Things Are" (on Gracq's King Cophetua) by Douglas Messerli

Günter Grass (Germany)
Review of Günter Grass' Two Far Afield by Thomas McGonigle
"The Tin[n]y Beat" (on Günter Grass' Die Blechtrommel [The Tin Drum]) by Douglas Messerli

Henry Green (England)
"So and So" (on Green's Party Going) by Douglas Messerli

Mohsin Hamid (Pakistan)
Review of Mohsin Hamid's Moth Smoke by Umber Khairi

Knut Hamsun (Norway)
"Testing His Creations" (on Hamsun's The Women at the Pump), by Douglas Messerli

Jeff Harrison (USA)
"Two Tales"

Marianne Hauser (b. Germany[Alsace]/USA)
"A War Against Death" (on the works of Marianne Hauser), by Douglas Messerli
[works discussed include Dark Dominion, The Choir Invisible, Prince Ishmael, A Lesson in Music, The Talking Room, The Memoirs of the Late Mr. Ashley, Me & My Mom, Shootout with Father, and The Collected Short Fiction]

John Hawkes (USA)
"Life Force" (on Hawkes' The Beetle Leg), by Douglas Messerli

Franz Hellens (Belgium/writes in French)
"Leaving Elsinore" (on Hellens' Memoirs of Elsinore), by Douglas Messerli

Gustaw Herling (Poland)
"Against Common Sense" (on Herling's The Noonday Cemetery), by Douglas Messerli

Sigurd Hoel (Norway)
"The Idiot"

Yoel Hoffmann (b. Romania / Israel)
Review of Yoel Hoffmann's Bernhard, by Allen Hibbard
"The Thing Itself and Not" (on Hoffmann's The Heart Is Katmandu), by Douglas Messerli
Review of Hoffmann's The Shunra and the Schmetterling, by Leslie Cohen

Spencer Holst (USA)
Review of Holst's Brilliant Sentences by Karen Donovan

Alois Hotschnig (Austria)
"Not at Home" (on Alois Hotschnig's Die Kinder beruhigte das nicht), by Douglas Messerli

Roy Jacobsen (Norway)
"The New Window"

Arthur Japin (Netherlands)
Review of Japin's The Two Hearts of Kwasi Boachi by Michael Pye

James Joyce (Ireland)
Joyce reading from Finnegans Wake

Ismail Kadare (Albania)
Review of Kadare's Elegy for Kosovo by Maria Margaronis
Review of Kadaré's Clair de lune by Robert Elsie

Richard Kalich (USA)
Review of Kalich's Penthouse F by Christopher Leise

Daniel Kehlmann (Germany)
"The Last Innocent Moment" (on Kehlmann's Measuring the World) by Douglas Messerli

Danill Kharms (USSR)
"The King, the Outlaw, and the Blacksmith" 
"First of All and Second of All"

Karl O. Knausgaard (Norway)
"Extinguishing the Fire" (on Knausgaard's A Time for Everything), by Douglas Messerli

Tadeusz Konwicki (Poland)
Review of Konwicki's Bohin Manor, by Brooke K. Horvath

 Dezső Kosztolányi (Hungary)
"The Writer's Other Self" (on Kosztolányi's Kornél Esti) by Douglas Messerli

Laszlo Krasnahorkai (Hungary)
"The Frightened Rabbit Flattens Against the Grass" (on Krasnahorkai's The Melancholy of Resistance), by Douglas Messerli
"To Begin Is to Never End" (on Krasnahorkai's War & War), by Douglas Messerli

Sigizmund Krzhizhanovsky (USSR)
"Forgetting to Notice" (on Krzhizhanovsky's Memories of the Future), by Douglas Messerli

Milan Kundera (Czech Republic)
Review of Milan Kundera's The Farewell Waltz by Paul Maliszewski

Tom La Farge (USA)
"On The noulipian Analects"
"Language Writhing Machines" (on La Farge's 13 Writhing Machines, vols. 1 and 2), by
Douglas Messerli

"Sir Echo" (on La Farge's 13 Writhing Machines, vol. 3), by Douglas Messerli
Anne Gédéon Lafitte, Marqius de Pelleport (France)
"Writer's Nose" (on Lafitte's The Bohemians) by Douglas Messerli


Carment Laforet (Spain)
"Nothing Left Behind" (on Laforet's Nada) by Douglas Messerli


Halldór Laxness (Iceland)
"The Voice of a Country" (on Laxness' The Fish Can Sing) by Douglas Messerli


Harper Lee (USA)
"Re-Righting the Story" (on Lee's Go Set a Watchman) by Douglas Messerli



Stansław Lem (Poland)
Review of Lem's The Investigation, by Tom J. Lewis

Alexander Lernet-Holenia (Austria)
Commentary on Lernet-Holenia's Beide Sizilien, by Robert von Dassanowsky

Stacey Levine (USA)
"The Water"
"Frictions of Desperate Serverity" (on Levine's The Girl with Brown Fur), by Douglas Messerli

Wyndham Lewis (England)
"Murdering to Create" (on Lewis' The Roaring Queen), by Douglas Messerli
José Lezama Lima (Cuba)
Review of José Lezama Lima's Paradiso by David Auerbach

Jonas Lie (Norway)
"How to Destroy Your Children" (On Lie's Niobe), by Douglas Messerli

Eugene Lim (USA)
from Strange Twins

Osman Lins (Brazil)
"Pastoral"
Osman Lin's book Nine, Novena

Øystein Lønn (Norway)
"The Calf in the Sea"

Maria Machado de Assis (Portugal)
"To the Dogs" (on Machado de Assis' Philosopher or Dog?), by Douglas Messerli
Colin MacInnes (England)
Review of  The London Novels by Douglas Messerli [link]

Amin Maalouf (Lebanon)
Review of Amin Maalouf's The Gardens of Light by Jamal En-nehas
John Henry Mckay (b. Scotland / Germany)
"Forbidden Love" (on Mckay's The Hustler)

Thomas Mann (Germany)
"The Will to Happiness"

Javier Marías (Spain)
"Coincidence and Contradiction" (on Javier Marias' When I Was Mortal) by Douglas
Messerli
"The Time That Has Yet to Exist" (on Javier Marias' Dark Back of Time) by Douglas
Messerli

F. T. Marinetti (Italy)
"Metaphorphosis" (on Marinetti's The Untameables), by Douglas Messerli

Carmen Martín Gaite (Spain)
Review of Martín Gaite's Behind the Curtains, by Brooke K. Horvath

Xavier de Maistre (France)
"Parenthetical Digression"

Harry Mathews (USA/lives France)
"Our Wonderful Lives" (on Mathews' My Life in CIA and The Journalist, by Douglas Messerli

David Matlin (USA)
"Moths Will Suck First"

Friederike Mayröcker (Austria)
Review of Friederike Mayröcker's Fast ein Frühling des Markus by M. Goth
Review of Mayröcker's Brütt oder Die seufzenden Gärten, by Susan Cocalis

Cormac McCarthy (USA)
Review of McCarthy's Cities of the Plain by Brian Evenson
"The Ultimate Road Trip" (on Cormac McCarthy's The Road), by Douglas Messerli

Douglas Messerli (USA)
Introductory Statement
from Twelve Tyrants Between Acts: Eighty Tiny Tales

Ivo Michiels (Belgium)
"The Cry" (on Michiels' Book Alpha and Orchis Militaris)
Ivo Michiels Book Alfa and Orchis Militaris, Vol. 1 of The Alpha Cycle $5.00

Christopher Middleton (England/lives USA)
"The Weathervane Oiler"
Christopher Middleton's book and ON NET editon of Deptictions of Blaff

"The Dissipating Poem" (on Middleton's Loose Cannons: Selected Prose) by Douglas Messerli
Mo Yan (China)
Review of Mo Yan's The Republic of Wine by Jeffrey C. Kinkley

Félix Morisseau-Leroy (Haiti/writes in Creole)
"Eminans, a story for singing"

Kajii Motojirō (Japan)
"Underneath the Cherry Trees"

Harry Mulisch (Netherlands)
"Voices from the Dead" (on Mulisch's Siegfried), by Douglas Messerli

Murakami Haruki (Japan)
Review of Murakami Haruki's Norwegian Wood by Kim Hjelmgaard
"The Lone Wolf" by Ben Naperstek

Péter Nádas (Hungary)
Review of Nádas' A Book of Memories, by Irving Malin

Martin Nakell (USA)
"Five Works from Stories from the City Beneath the City"
"Everything But Life Itself" (on Nakell's Settlement), by Douglas Messerli

Richard Bruce Nugent (USA)
"Between Heaven and Hell" (on Nugent's Gentleman Jigger), by Douglas Messerli

Joyce Carol Oates (USA)
Review of Joyce Carol Oates' Blonde by Mary Gaitskill

Flannery O'Connor (USA)
"Strange Bird" (on Brad Gooch's Flannery: A Life of Flannery O'Connor and
O'Connor's fictions), by Douglas Messerli


Oë Kenzaburo (Japan)
Community of Thought (on Oë Kenzaburo's A Personal Matter), by Douglas Messerli

Toby Olson (USA)
"Possibilities of Coincidence" (on Olson's Write Letter to Billy and Dorrit in Lesbos), by Douglas Messerli
"Lockup""The Poetics of In and Out" (on Olson's The Bitter Half), by Douglas Messerli
"Talking to the Dead" (on Olson's Tampico), by Douglas Messerli

Orhan Pamuk (Turkey)
"The Smell of Death" (on Pamuk's My Name Is Red), by Douglas Messerli

Viktor Pelevin (USSR/Russia)
Review of Pelevin's Buddha's Little Finger by Keith Gessen

Benjamin Péret (France)
"The Four Elements"

Christina Peri Rossi (Uruguay)
"The Calvacade"
John Perreault (USA)
"Living Others' Identities" (on Perreault's Hotel Death and Other Tales), by Douglas Messerli

Fernando Pessoa (Portugal)
Review of Pessoa's The Book of Disquiet, by Phillip Landon

Dennis Phillips (USA)
from Hope

Antonio José Ponte (Cuba)
"Leaving the Door Open" on Antonio José Ponte's In the Cold of the Malecón and Other Stories), by Douglas Messerli

Jacques Poulin (Canada/writes in French)
"Transport of Love" (on Poulin's Translation Is a Love Affair), by Douglas Messerli

Anthony Powell (England)
"International Relationships" (on Powell's Venusberg) by Douglas Messerli

Richard Powers (USA)
Review of Richard Powers' Plowing the Dark by Charles B. Harris

Reynolds Price (USA)
"An Attack of the Heart" (on Price's The Tongues of Angels), by Douglas Messerli

José Manuel Prieto Gonzalez (Cuba)
Review of Prieto Gonzalez' Nocturnal Butterflies of the Russian Empire, by Nicholas Birns

Soledad Puértolas (Spain)
Review of Puértolas' Bordeaux, by Kay Pritchett

James Purdy (USA)
Review of James Purdy's Gertrude of Stony Island Avenue by Brian Evenson
John Rechy (USA)
"Even the Heart Rebels" (on Rechy's City of Night) by Douglas Messerli

Marie Redonnet (France)
"Ist and Irt"

Ishmael Reed (USA)
Brief Commentary on Ishmael Reed's The Free-Lance Pallbearers by Elizabeth MacKienan
Brief Commentary and Selections on and from Reed's Mumbo Jumbo by Dennis Cooper
Review of Reed's Cab Calloway Stands in for the Moon by Michael Boccia


Kathrin Röggla (Austria)
"Attic"

Peter Rosei (Austria)
"The Blur" (on Rosei's Metropolis Vienna), by Douglas Messerli
Gerhard Roth (Austria)
"Two Fragmentary Fictions" (on Roth's The Will to Sickness) by Douglas Messerli

Joseph Roth (Austria)
"Secret Lives" (on Collected Shorter Fiction of Joseph Roth), by Douglas Messerli
"Pomp and Circumstance" (on The Radetzky March), by Douglas Messerli

Philip Roth (USA)
Review of Philip Roth's The Human Stain by Igor Webb
Jess Row (USA)
Review of Row's Your Face in Mine by Douglas Messerli [link]

Helga Ruebsamen (Netherlands)
Review of Helga Ruebsamen's The Song and the Truth by Claire Messud

Aksel Sandemose (Norway)
"The Melancholiacs and the Missing Bucket" (on Sandemose's The Werewolf), by Douglas Messerli

José Saramago (Portugal)
Bibliography of Fictions
Review of Saramago's Blindness, by Philip Landon
"A Vision of Uncertainty" (on Saramago's The Cave), by Douglas Messerli
Review of Saramago's The History of the Siege of Lisbon, by Mary Sarko
Review of Saramago's All the Names by Richard Eder
"Trying to Pass" (on Saramago's The Elephant's Journey), by Douglas Messerli

Alberto Savinio (Italy)
"Attila"

Hans Scherfig (Denmark)
Review of Scherfig's Stolen Spring, by Brooke K. Horvath
Moacyr Scliar (Brazil)
"Another War" (on Scliar's The War in Bom Fin) by Douglas Messerli

Cathleen Schine (USA)
"Doggone" (on Schine's The New Yorkers), by Douglas Messerli

Ingo Schulze (b. DDR/Germany)
Review of Ingo Schulze's Simple Stories by Peter Rollberg

W. C. Sebald (Germany/lived England)
Review of W. G. Sebald's Vertigo by Joyce Hackett
"At Odds" (on Sebald's Vertigo), by Douglas Messerli

Ana Maria Shua (Argentina)
"Four Microfictions"
Eva Sjödin (Sweden)
"Two Fragmentary Fictions" (on Sjödin's Inner China) by Douglas Messerli

Josef Skvorecky (Czechloslavakia / now Czech Republic)
Review of Skvonecky's The End of Lieutenant Bouvksa, by Brooke Horvath

Gilbert Sorrentino (USA)
"Writers from the Diaspora of Truth" (on Sorrentino's Rose Theatre), by Douglas Messerli
"The Novel Against Itself" (on Sorrentino's Aberration of Starlight and Mulligan Stew), by Douglas Messerli
"Seeing Red" (on Sorrentino's Red the Fiend), by Douglas Messerli
"Runaway Moon, or The Duchess of Flight" (on Sorrentino's The Moon in Its Flight), by Douglas Messerli

Saša Stanišić (b. Bosnia-Herzegovina/Germany)
"When You Can't Cut Fog" (on Stanišić How the Soldier Repairs the Gramaphone) by Douglas Messerli

Gertrude Stein (USA)
"Thirteen Ways of Looking at a Stone" (on Janet Malcolm's Two Lives: Gertrude and Alice), by Douglas Messerli
"Distribution and Equilibration in Stein's Three Lives" by Douglas Messerli
"A Fiction Requiring History and Faith" (on Stein's Mrs. Reynolds) by Douglas Messerli
"Not Real but Really There" (on Stein's Paris France) by Douglas Messerli
"O Brave New World (on Stein's Brewsie and Willie) by Douglas Messerli
"Tender Buttons as Narrative Fiction" by Douglas Messerli
"A Time Gone Mad" (on Stein's Wars I Have Seen) by Douglas Messerli
"Out of Order" (on Stein's The Autobiography of Alice B. Toklas), by Douglas Messerli

Robert Steiner (USA)
Review of Steiner's Bathers, by Jack Charters

Panos Spiliotopoulos (Greece)
"The Castaway"

August Strindberg (Sweden)
"Selling Out" (on Strindberg's The Red Room), by Douglas Messerli

Antonio Tabucchi (Italy)
Review of Antonio Tabucchi's The Missing Head of Damasceno Monteiro by Thomas Hove

Inagaki Taruho (Japan)
from One Thousand One-Second Stories

Nivaria Tejera (b. Cuba/Canary Islands)
"Looking Down" (on Tejera's The Ravine), by Douglas Messerli

Jáchym Topol (Czech Republic)
Review of Jáchym Topol's City Sister Silver by Jaroslaw Anders

Esther Tusquets (Spain)
Review of Tusquets' Never to Return, by Brian Evenson

Jane Unrue (USA)
"A New Way of Seeing" (on Unrue's The House)

John Updike (USA)
"Before the Curtain Rises" (on Updike's Gertrude and Claudius), by Douglas Messerli

Urmuz (Romania)
"Ismail and Turnavitu"
"Algazy and Grummer"


Miklós Vámos (Hungary)
"Fallen Stars" (on Vámos' The Book of the Fathers), by Douglas Messerli

 Luis Fernando Verissimo (Brazil)
"Easting Oneself to Death" (on Verissimo's The Club of Angels) by Douglas Messerli

William T. Vollmann (USA)
Review of Vollmann's Butterfly Stories, by Steven Moore

Antoine Volodine (France)
Review of Volodine's Naming the Jungle, by Jack Byrne

Wendy Walker (USA)
"Art, Writing, and the Untellable: An Interview between Wendy Walker and Douglas Messerli" [link]
"Burning Blue" (on Walker's Blue Fire) by Douglas Messerli
from The City under the Bed
"Sexual Stealing" (on the Gothic Novel)
"Borges Walker Wessells" (Wendy Walker and Henry Wessells in coversation of Jorge Luis
Borges)
"The Forgotten Dream" (on Walker's The Secret Service) by Douglas Messerli

Robert Walser (Switzerland)
Review of Robert Walser's The Robber by Stephen Clair
Mac Wellman (USA)
from Linda Perdido

Eudora Welty (USA)
"Conversations with Nature" (on Welty's The Optimist's Daughter), by Douglas Messerli
"A Solid Wall of Too Much Love " (on Welty's Delta Wedding), by Douglas Messerli
"The Encounter between History and Myth in Welty's The Golden Apples," by Douglas Messerli
"A Battle with Both Sides Using the Same Tactics" (on Welty's Losing Battles), by Douglas Messerli
"When Language Doesn't Mean" (on Welty's The Ponder Heart) by Douglas Messerli

Nathanael West (USA)
"Looking for Love" (on West's Miss Lonelyhearts), by Douglas Messerli

Dallas Wiebe (USA)
Brief Commentary on Dallas Wiebe's Going to the Mountains by Elizabeth MacKiernan

Oscar Wilde (USA)
"The Hidden Self" (on Wilde's The Picture of Dorian Gray) by Douglas Messerli
John A. Williams (USA)
"A Very Crazy Place" (on Williams' Clifford's Blues) by Douglas Messerli

Virginia Woolf (England)
Woolf's recorded voice

Unica Zürn (Germany)
"A Real Doll" (on Unica Zürn's Dark Spring), by Douglas Messerli

Douglas Messerli | "Living Others' Identities" (on John Perreault's Hotel Death and Other Tales)


As I’ve noted elsewhere in the My Year volumes, I have known John Perreault and his husband Jeff Weinstein for decades, so it was a shock when I read in September of this year that John had died on the 6th of that month, at the age of 78, from complications of gastrointestinal surgery.
      I believe I first encountered John in the pages of art journals, in particular Artnews in the mid-1960s; a few years later, I also begin reading some of his poetry. 
     In 1966 John was hired as the chief art critic for one of the most influential of New York newspapers of the day, The Village Voice, a paper where later his companion, Weinstein, was food critic. 
     John championed, over the years a great many artists emerging against the abstractionist art that had previously dominated the New York art world; he wrote about the minimalists, but also about photorealist artists, land art, feminist art, and the decorative art shown at that time primarily by one my personal favorite galleries of the period, Holly Solomon Gallery. Over the years, Solomon became an enjoyable acquaintance of mine and my companion Howard Fox. 
     John was a personable and involved critic, and quickly became friends with some of the artists he reviewed, becoming the subject of paintings by Philip Pearlstein, Sylvia Sleigh, and Alice Neel and of photographs by Eleanor Antin and others. Weinstein reports that John spoke with Andy Warhol nightly via phone calls. John had a laconic way of speaking that made one feel it was truly listening to what you had to say.
     As an outspoken gay man, John also was a force in drawing attention to the impact of AIDS on art, helping to organize the “Day Without Art” activities of 1989. I recall visiting with John and Jeff, one evening, a major historian of the gay movement, resulting in a long discussion of the past of future plans for gay activist actions, which I saw then as almost an analysis of where we’d been and where, as gays, we had to move. 
     Over the years, John taught at the New School, the School of Visual Arts in Manhattan, the State University of New York at Binghamton, and the University of California, San Diego, where he met Weinstein. 
     In later years John served as a curator at the American Craft Museums, the Everson Museum of Art, and the Newhouse Center for Contemporary Art.
     In the 1980s, John and Jeff begin to publish a small magazine, Only Prose, devoted to fiction, publishing some of my own work in its pages, while I, in turn, published Weinstein’s wonderful story “A Jean-Marie Cookbook” in my Sun & Moon journal, in 1979, anthologizing that tale in my fiction collection Contemporary American Fiction, and publishing a somewhat longer fiction Life in San Diego, as well as a selection of Jeff’s restaurant reviews in Learning to Eat in 1988.
     The next year I published a remarkable collection of John’s tales, Hotel Death and Other Tales, which I’ve chosen to comment on below in memorium of Perreault.
     During the past few years before his death, John returned to writing poetry, and I published two of those new poems in my Little Anthology of My Favorite American Poets of 2016.   

living others’ identities
by Douglas Messerli 
John Perreault Hotel Death and Other Tales (Los Angeles; Sun & Moon Press, 1989)

Although I have now read Perreault’s collection of tales, Hotel Death, at least three times, I never perceived until this year’s re-reading how much his stories were concerned with the two unifying themes of My Year 2015 and ‘16, identity and belief. Indeed, in story after story, Perreault’s nervous characters—most of them gay men, some still within heterosexual marriages—are seeking to find out who they might really be, particularly since so many aspects of their identities have been defined by others.

       
     In the title story, “Hotel Death,” a science teacher (astrophysics) seeks to escape his not so fulfilling work by traveling into the Baja Peninsula to visit a tourist hotel, Hotel Descansado. Although the hotel is comfortable and modern—with large rooms whose balconies face a pool and the ocean—and spacious public spaces, strange things seem be happening around the corners and behind his back, with waiters ironically smirking and winking, one seeming desperate to have sex with him. He has taken pictures during his travel to the hotel and his return, but none of the photographs of the hotel itself turn out. The swimming pool, strangely enough shaped as a question mark, is a stagnant body of green water, and although the ocean beacons nearby, a wall stands between the hotel and the beach full of sand dollars. When he does climb the wall to take a nude stroll in the sand, he is met by banditos who demand money, although, as it points out, he has no place to even carry it, and, moreover, he is surviving on a credit card back in his room. One morning he awakens to discover a body in the stagnant pool. In short, while he has no specific evidence, he feels that the place is somehow evil, that even the spacious rooms are somehow akilter. It is a place, he observes, where one sees God or, to express it another way, the visitor encounters death, perhaps even his own.
      Nothing does truly happen to the traveler, but he is still terribly affected by the place months after his return when he attempts to explain what happened there to his ex-wife and friends. It is, as he attempts to explain, as he himself had created to hotel and was responsible for the evil therein, expressing what might almost be described as a mantra of the author: “Within this nature we correct ourselves.”
     The world around us, throughout Perreault’s ordinary yet fantastic tales, reshapes us and re- defines us. As in “The Previous Tenant” and “Mysteries” rooms and their previous tenants make the characters not only wonder about their lives and beliefs, but gradually works to redefine and reshape them. The philosopher-teacher, ensconced in another professors office, in “Mysteries” gradually begins to read the former tenant’s works and wonder about how his mind functioned; the bedroom he has rented, where the renter’s son had previously slept, leads the older man to speculate on the life of the young boy, whose porn and leftover jock-strap  somewhat titillates the older man. Ultimately leaves in both the office and the boy’s room a strange emblem of masking tape upon the wall which reads a bit like a x’d out cross—perhaps a kind of talisman to protect him from their forces.
      In the wonderful tale “The Catalogue,” a lonely woman finds her identity in the regular mail order catalogues she receives, from which she orders all the furniture and accessories of her isolated Iowa home until she has “erased desire.” 
      The young would-be Beats living in a San Francisco group house, begin to play games with language that fill up and redefine their lives, while frightening those who do not know that they are “IT,” around whom the others are playing the game.

      In “The Typist,” a man whose lover is away, attempts but fails to type him a letter breaking up their relationship, since his entire seems to have been redefined by his companion’s super-orderly patterns of living. Attempting to create subtle signs of rebellion—turning the top sheet in the wrong direction, leaving the electric typewriter on, unfolding the neatly organized socks, etc. But so used has he become to the way his mate has structured his life, he suddenly returns everything to its proper order before his lover’s return.
     In “Airport Music” a slightly paranoid man is so terrified of the times that he determines to take on the identity of a regular businessman traveling by air; but to protect himself he determines to visit only airports in which the arriving planes are connected to chutes, spending his entire life in traveling internally from airport to airport without leaving the safety of their confines. He buys new clothes in airport shops and bathes in airport showers and in one hotel connected by enclosed pathway to the airport. When, by accident, one of his flights is rerouted to a small airport at Ft. Myers, and he is forced to briefly deplane outside, he is shot dead by unknown assailants; clearly his paranoia has been valid.
      Often, as in the tale “Do Not Drive in Breakdown Lane,” the narrator or storyteller so loses his selfhood, that, in the end, identity is completely lost no matter how the story is told:

                        Change all the genders; change all the names, persons, tenses.
                        Whose story is this, anyway? Does it matter? Whose house
                        is this, anyway? William’s, Dawn’s, Eve’s, mine, or yours?
                        I am a woman and I arrive in Provincetown in the dead of
                        Winter to take care of a house and a dog, but the doge is gone.
                        And, believe it or not, I find love. It goes on and on; it goes
                        Around and around; in a spiral, this story-telling.

      Time and again in Perreault’s world, figures, while driven by inner desires, are also redirected and redefined by others, their identities stolen or, and the very least, redefined. Often, it is their inner desires which actually remake their identities. Identity, in short, is a malleable thing for Perreault—unlike the view of Gertrude Stein for whom identity is merely repetition—so fragile that even the slightest outside intrusion can destroy all self. Is it any wonder in the terrifying story “The Door,” a man lays inside his apartment horrified by the possibility of someone intruding upon him, whether it be with the intent of selling, proselytizing, burglary, or, perhaps, even murder!

Los Angeles, October 15, 2015