Eastern Europe Archives - Page 2 of 7 - A Geography of Reading

Captain Corelli’s Mandolin Fails to Woo Me

January 5, 2014 by Isla McKetta, MFA 4 Comments

Books are my sanctuary. They are how I learn about the world and myself. And they are where I take solace when having a bad day. So when a book fails me (and I fail to put it down), everything in my life feels askew. This happened recently with Captain Corelli’s Mandolin (also called Corelli’s Mandolin by Louis de Bernières.

Auspicious Beginnings

As I lay down in bed with the first few pages of this book, I was enchanted by the story of Dr. Iannis extracting a decades-old pea from a patient’s ear. It was a delightful story and so unexpected. As I drifted off to sleep, I revisited my vague, sweet memories of the movie starring Nicholas Cage and Penelope Cruz and was looking forward to more.

Maddening Monologues

When I opened the book again the next day on the bus, I was confused to be ensconced in a first-person monologue. And then it seemed to be followed by another. My recollections are inexact at this moment because I’ve tried to block the story from my mind, but I was placed directly inside the mind of Il Duce, Metaxas, and someone called (at that point) simply “The Homosexual.” The chapter titles told me who was speaking but the text failed to tell me why I cared and I struggled to find the overarching story. I kept reading because it was the only book I had with me (the argument that may some day convince me to get an e-reader), but I wasn’t happy about it.

I think if I had some understanding of World War II in Greece (and a better understanding of Mussolini), I might have gotten more out of those first-person narratives. Instead I was annoyed and felt bandied about. I was looking somewhat for the story I thought I knew (although I did not remember enough of the film to make the same mistake I had the first time I read The English Patient) or the story that enchanted me that first night, so I kept reading.

Sweet Moments of Romance

Interwoven with those first-person assaults were little gems of Pelagia and her father, the doctor. And there were adorable moments of Pelagia falling for a local boy, Mandras. They were romantic like I remember the movie being. They were also a little expected. When Pelagia admired Mandras, I felt like de Bernières was writing how he would want to be admired. Perhaps that’s a writer’s prerogative (I’ve done it), but it felt vain and made me feel more separate from the story.

When Mandras becomes inconvenient, his character becomes less interesting. I don’t take issue with Pelagia’s falling out of love with him, that seemed quite natural given their separation, but I did start to wonder why this Greek god we had been supposed to admire was suddenly shunted aside into the realm of one-dimensional characters.

Captain Corelli and Pelagia also held my interest for awhile. I kept wanting to put the book down but had just enough interest in the characters to keep me going. And, much to my relief, the monologues seemed to subside.

Choosing Titles

I’m thinking a lot about titles right now as I seek the perfect name for my novel which is due to be released later this year. I’m rubbish with titles so for a long time the book was called simply Polska. As the book neared completion I examined the themes and writing and started calling the book Murmurs of the River after Chopin’s “Murmures de la Seine” which had influenced some of the rhythm of the book, but I knew the title was weak, so now I’m looking for something that will make a reader pick my book off of a virtual shelf without betraying the content. I have pages of lists of potential words and one good candidate. UPDATE: My editor and I chose to go back to basics and call this book Polska, 1994.

What I’m saying is that I know titles are both very important and very difficult. Still, I was surprised when it felt like I didn’t meet the title character (both Corelli and the mandolin) until halfway through the book. That might not be true because I read the beginning much slower than I read the end. But to me Pelagia was the center of this book, not the mandolin.

I’ve spoiled so much that I won’t go into the ending here, but I will say that the tone and style of the book changes about halfway through. And that wasn’t just because I was skimming it while waiting for the plumber to replace our pipes. I usually try to respect a writer’s decisions as final, but in this case I will say that this large book which is trying to say so many things could have used another edit with an eye to theme. I kept reading, but I was mostly sorry I did. I should have done myself the favor of putting down the book and enjoying happy memories of the beginning.

If you are a more patient soul than I, pick up a copy of Captain Corelli’s Mandolin from Powell’s Books. Your purchase keeps indie booksellers in business and I receive a commission.

The Lullaby of Polish Girls by Dagmara Dominczyk

November 13, 2013 by Isla McKetta, MFA 2 Comments

I can’t remember where I first heard of The Lullaby of Polish Girls by Dagmara Dominczyk a mere two days after it was released, but I know the very next thing I did was add the book to my Goodreads. Within a week I had purchased a hardback copy from Elliott Bay Books. I regret none of that. What I do regret is letting the book linger on my shelves for five months before reading it. I thought it would be an easy read, maybe a little pop-y and I was never quite in the mood. My mistake. The book was fantastic and I’m so glad I threw it in my suitcase for my anniversary getaway this past weekend.

First, a Little Background

I’m a sucker for all things Polish. I spent a year there on foreign exchange in this wondrous time (1994-5) when the country was emerging from Communism and hadn’t yet found its feet as part of Western Europe. I was so enthralled with the people, the culture, and the history that 10 years later I started drafting a novel about the place to try and grasp in fictional form some of the complexities of the place and people I loved.

As I’ve been querying agents for my novel, I’ve been seeking out books about Poland during that transitional period to 1) see if I got it right, 2) find out what agents and presses are interested in the period, and 3) recapture some of the magic. So I was predisposed to like The Lullaby of Polish Girls, even if it hadn’t been really well written.

A Book in Context

Minutes before I opened The Lullaby of Polish Girls and started reading it, I read the final pages of Far from the Madding Crowd by Thomas Hardy. It was a strangely apt transition, because I’d been really interested in Bathsheba Everdene’s unusual strength of character for a literary woman of her period. At least in the beginning. Then she got kind of wimpy and I started seeing so many of the gender limitations of the era. I was getting really depressed, actually, despite the fact that I was away on vacation and reading in a spot overlooking the sea.

About The Lullaby of Polish Girls

How wonderfully refreshing, then, to open Dominczyk’s book and find not one but three strong female leads. And they weren’t cardboard strong or representing some idealized female power. Instead, Anna, Kamila, and Justyna are beautifully round characters. All three are Polish by birth, although Anna has emigrated to America, and their mothers knew each other before the girls were born. Anna first meets Justyna when she returns to Poland for a few brief moments as a tween in 1989. Justyna tells Kamila (who had been away that weekend) about Anna and Kamila takes up a deeply personal correspondence with her.

Describing an Era

So what we get to see as readers is the lives of these women in 2002 and then fully-realized flashbacks of them as they are growing up in 1989, 1992, 1995, and 1998. It’s a simple setup. Each chapter has a section focused on Anna, then one on Kamila, and a third on Justyna. The chapters alternate between the present (2002) and an ordered sequence of years in the past. But what’s happening behind that simplicity is these girls are growing up and changing as rapidly as their country is. When Anna visits in 1989, Poland is still in the last stages of Communist rule. By the time the narrative ends, Poland is two short years away from joining the European Union. That’s a whirlwind of history and it all happens in 217 pages. But Dominczyk lets this exist as rich background rather than thrusting the history on the reader.

Intercultural Identities

Dominczyk is also using her characters to describe the myriad stages of exile of the Polish people and the longing that produces. Anna’s father is a refugee from the Communist government. She was seven when her family came to the US to live the American Dream. Kamila’s parents came to the US after the Berlin Wall fell and are in the country illegally. When we first meet her in 2002, Kamila is visiting her parents as she flees from a bad marriage in Poland. Justyna and her family have always been in Poland. It’s remarkable that three families can showcase such a wide variety of experiences and it never comes off at all forced. There are some really gorgeous complexities that arise in the girls’ interactions because of their degrees of escape from Poland and it’s so well handled.

I’ve seen these experiences up close and Dominczyk gets them just right. When I was in Poland, I remember people telling me about an aunt or a cousin who had gone to the US as though I might have met them. They’d talk wistfully of America like it was the promised land. And a Polish friend I had in the US saved every year so she could go back and visit that part of her past and her family. She knew that people expected something from her because she was American–gifts or hope or a way out–and I think that always reminded her of what she had in the States. Meanwhile, as an American, I would have gladly stayed in Poland if I hadn’t been 17.

Strong Female Characters

But what I liked most about this book was the strength of those three women. Even as girls they are sharply aware (of each other when not of themselves) and they make mistakes and choices and life happens to them, but they are strong in their very core. The image I came away from Poland with was of an entire sex who was genetically blessed, good at all things home-related, and making their way in the workforce as scientists and economists. It’s a broad generalization, of course, but this book captures some of that “we’ll forge ahead no matter what” spirit that I so admired.

I haven’t been back to Poland. Maybe because it’s not in my blood I’m afraid that I won’t relate to the place after so many years. But I was grateful to Domiczyk for allowing me to revisit and broaden my memories. And I was grateful that she created this rich, tightly-written story. I’ll re-read this book with pleasure and not just as a vacation read.

If you want to visit a little piece of the Polish-American experience, pick up a copy of The Lullaby of Polish Girls from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

Exploring Sun Alley with Cecilia Ştefănescu

September 8, 2013 by Isla McKetta, MFA 2 Comments

This week I am surrounded by Romania from a thought-provoking post about what people will do for a better life to a search query for my favorite tea that instead returned an album of Romanian celebration music (in French). It all started in Sun Alley, Cecilia Ştefănescu’s award-winning novel about the intoxication and torment of forbidden love.

From the moment the young Sal first sees Emi joyously cutting apart his friends’ most prized magazines, he is enthralled with her and does everything he can to overcome the friends, parents, and life that try to keep them apart.

Central Mystery

More than a retelling of Romeo and Juliet, though, Sun Alley allows the characters to grow up. In fact, what I enjoyed most about this book was the split in time. Just as we are preparing to find out what happens when Sal and Emi prepare to run away from Sun Alley together, the time period flashes suddenly forward to an adult Sal and Emi. We discover that their attempt to flee was unsuccessful (as seemed inevitable) but we don’t learn why or how until much later.

Instead, Ştefănescu keeps the unfinished quality of their love affair in sharp focus. Though they are married to other people, they again find that they cannot bear to be apart and embark on a long, adulterous affair with all of the usual stakes. I’m not trying to be flip, but it’s obvious that husband, wife, and children cannot keep Sal and Emi apart any more than friends and parents could.

Their childhood separation is alluded to over and over as the chapters flash back and forward in time which creates a delicious tension because although we know they are (somewhat) together now, we are constantly reminded how fragile that relationship is because it has been broken before. The wonderful structure conceals as much as it reveals and I started to think about how our shifting memories betray us over time.

Other Mysteries

“He cringed in terror. He knew quite well what was on that table. It was someone. A human being, a body, a creature.” – Cecilia Ştefănescu

There is a second mystery in this book, that of a dead body young Sal finds in a basement one afternoon. It’s a truly creepy scene and made me think about how children really act versus how we like to think they act. I think this book erred on the side of how they really act, though, and it was a good lesson for me about not being squeamish about letting your characters follow their paths. I’m glad Ştefănescu didn’t take a more restrained approach to Sal’s interaction with the body, but I do wish that the body subplot was a more integrated part of the story throughout. There were echoes of it and the resolution (which I will not spoil for you) is just right, but I lost the trail sometimes as I focused on Sal and Emi’s love affair.

Significant Detail

Details show a reader where to focus. When something is important, a writer will often layer in more and more detail to signal to the reader that it’s time to really examine a scene. In the case of Sun Alley I was lost in the detail for nearly all of the first chapter. There are readers who love having every sense titillated along the way as they enter a world. I usually look for a bit more guidance and this overly detailed beginning left me grasping for understanding.

“He thought a while and then lightly touched the cockroach’s hump with his nail. It stopped, curled up and slowly moved its legs, seemingly begging to be left alive. Sal lifted his finger and sat down on the kerb next to the cockroach.” – Cecilia Ştefănescu

This is a stylistic choice and some very popular books like Atonement use the same approach. On rereading this beginning, I found that Ştefănescu does as good of a job at tying these descriptions to her overall theme as McEwan does (which is to say she does it very well), but it still drives me a little nuts.

Writing True Dialogue

One of my favorite parts of the book is a fight that Sal and Emi have at the end. I won’t quote it for you here because I don’t want to reveal too much, but writing a good, tense dialogue is something I struggle with. Here Ştefănescu lays out two characters who are standing their ground firmly and we as readers can see that there are moments when they are talking about completely different things without realizing it. So there is conflict and tension and possible resolution but the scene is so well written that I can easily believe one might never see what the other is truly saying. That’s an art and a delicate balance and Ştefănescu does it very well.

Although the ethnologist in me hoped that something about this book would come off distinctly Romanian and I’d learn more about Ştefănescu’s country of origin, I was not at all disappointed to find instead a book that will appeal to anyone who has ever experienced the joy and suffering of forbidden love.

If this review made you want to explore Sun Alley, pick up a copy from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

Writing Around the Holocaust with Garden, Ashes by Danilo Kiš

August 11, 2013 by Isla McKetta, MFA 2 Comments

I have read a lot of books about the Holocaust. Memoir and fiction, books set in World War II Europe and in the US before and after. But until reading Garden, Ashes by Danilo Kiš, it had never even occurred to me that a book could be written about Yugoslavia during the 1940s without writing directly about the war. This story of a young Catholic boy, Eduard Scham, who loses his Jewish father, Eduard, attempts to focus so directly on the personal that the historical context is nearly absent.

Are All Holocaust Books the Same?

When I said I’ve read a lot of books about the Holocaust, I mean I’ve read so many that I’ve lost count. In my early teens I was so interested to understand the depths of human depravity that I read every Holocaust memoir and novel I could get my hands on. Kids in school called me a Nazi because I carried around a copy of The Rise and Fall of the Third Reich for weeks trying to understand the history as well as the personal stories.

But aside from a few snippets of Anya by Susan Fromberg Schaeffer and images of a Jewish girl dying her hair in a barn from a book whose title I can’t even remember, the stories ran together in my mind. Each ghetto was individual. Each child who was saved or died was an individual with a full life of potential. But I could not then (and cannot now process) that many individual horrors. The events are too big. The lives lost too many. The closest I’ve come in recent years was reading Tadeusz Borowski’s This Way for the Gas Ladies and Gentlemen back to back with Fatelessness by Imre Kertesz and letting myself be jarred by the juxtaposition between Borowski’s story of unloading prisoners at Auschwitz and Kertesz’s description of being unloaded.

So no, all Holocaust books are not the same, but I can understand Kiš’s desire to try and tell a different kind of story.

How do You Write Around the Holocaust?

“You can’t play the victim all your life without in the end becoming one.” – Danilo Kiš

My absolute favorite part of Garden, Ashes is the first chapter. Kiš begins his book with a description of summer days and Andi’s mother carrying in a tray of honey and cod-liver oil which he describes as the “amber hues of sunny days, thick concentrates full of intoxicating aromas.” This first passage ends with how the children would on rainy days, “sad and disappointed, hating to get up, we would back under the covers to sleep through a day that had started badly.”

This contrast between sunny and rainy days continues throughout the first chapter and I realized (too late perhaps) that Kiš was building a metaphor. He’s telling a story that ever so subtly illustrates the differences between life before the war and life during the war. When he writes about how Fraulein Weiss could not be killed–not by the Titanic, her suicide attempt, or the numerous carts that had run over her–he is writing about surviving through the worst whether you want it or not.

Then the chapter, yes, this is all in one short chapter, turns toward the last days of summer when the leaves are changing color and Andi’s mother “had a peculiar presentiment about the advent of autumn” that leads them to jump on the last train and then “the dark cloud was upon us and rain began to patter down.” When they return to town, Kiš begins to use military language like the “signs of autumn’s offensive” that surround them. And then his mother announces the death of an unknown uncle and it seems as though the rest is inevitable.

By continuing to use metaphors, Kiš manages to write an entire book about this family and their experiences in the war that hardly ever mentions the war directly. I began to notice moments when he mentioned his mother but not his father. I felt fear and dread every time a train journey was mentioned. When Andi describes how his relatives are leaving, I wonder if they are going into exile or being deported to camps.

Is Kiš Successful?

“The eternity of the world and the worthlessnes of my own life within this enormous passage of time had become obvious, almost palpable.” – Danilo Kiš

I found this book maddening. The metaphors were amazing and the writing was gorgeous. But there were moments I simply wanted to know what was happening. The historical context is there, imprinted in our minds. But still, I wanted the personal details. I looked for direct mentions of the war, of which there are very few, and clung to them like a buoy. I wanted to know how Andi who clearly had a Jewish father avoided being picked up by the Gestapo. I had trouble distinguishing between his father’s emotional absences and his physical ones.

If you are a more careful reader than I am, one who absorbs information over time, Kiš will knock your socks off with Garden, Ashes. I have a feeling the book is rife with metaphors I’ll never uncover. But even with all the context I have on the Holocaust, I needed this book not to tiptoe as much around the topic. I needed to not wonder whether Eduard Scham had survived or not.

I think Kiš really wanted to create a new kind of narrative about the Holocaust, one that was about life and not death. I admire that. I really do. But some things are too big. We do not have to allow ourselves to be crushed by them, but we do have to look at them head on.

If you want to see how to write around traumatic events, pick up a copy of Garden, Ashes from Bookshop.org. Your purchase keeps indie booksellers in business and I receive a commission.

Building a Hybrid Memoir in Mother Departs by Tadeusz Różewicz

July 17, 2013 by Isla McKetta, MFA Leave a Comment

I was offered Barbara Bogoczek’s translation of Mother Departs by Tadeusz Różewicz for review I think because of my interest in Poland and, of late, Polish poetry. But what made me read the book this week was flipping through and seeing that mix of shapes of text on the page that belongs uniquely to hybrid forms. Since reading W.G. Sebald, I’ve been interested in the way writers transcend the boundaries of their genres using hybrid forms and I thought this book might help me experiment with that a bit myself.

What I didn’t realize until reading the introduction is that the book is actually a compilation of Różewicz’s poetry, essays by his mother and brother, and selected family pictures. The result is a wonderfully polyphonic memoir as the voices harmonize to tell a greater story. And although the emphasis is on the family, the narrative is deeply influenced by the fascinating period in Polish history starting before World War I and ending just after the fall of communism.

On Polish Peasantry

At first reading the childhood recollections of Różewicz’s mother, Stefania Różewicz, was somewhat jarring. Her sentences are much shorter than his and her observations more quotidian. But I soon ceased to care about the writing itself because the stories were so interesting and, to me, personal. She was a Polish peasant at the same time that my grandfather’s parents were peasants in nearby Ukraine. As she describes how desperately poor the families were – taking babies to the fields and sending young children abroad to work – I started to imagine for the first time the circumstances my family had lived in and why they likely fled to work in Pennsylvania coal mines. I also thought back to stories my adoptive Polish grandmother (from when I was on foreign exchange in Poland) had told me about her childhood. This book made all of those stories come alive for me.

Stefania Różewicz does a lovely job of immersing the reader in her mode of life. And later in the book when she finally owns a purely decorative vase, the exquisite luxury of that one simple object is enthralling. It made me think about my relationship with material objects and consumption for its own sake.

Selected Poems

The language in Różewicz’s poetry is relatively simple and his imagery isn’t especially evocative. I think without the context of his mother’s narrative, I wouldn’t have found it at all remarkable. But within the context of her story, his poems come alive. Because I was seeing the Różewicz’s story from a myriad of angles, I began to feel like I was a member of Różewicz family.

mother in the photograph
is still young beautiful
smiles slightly

but on the back
I read written
in her hand the words
‘year 1944 cruel to me’

in the year 1944
the Gestapo murdered
my older brother

we concealed his death
from mother
but she saw through us
and concealed it
from us
– Tadeusz Różewicz from “The Photograph”

By focusing on the emotional push-pull of sharing and concealing information surrounding the death of Różewicz’s beloved brother, I saw both the importance of tacit understanding in the family and the depth of love in that silence.

A Mourning Diary

The heart of the book is Różewicz’s “Gliwice Diary” a record of the time he was attending to his dying mother. This section spans just a few months of her decline and yet it conveys the depths of both love and despair he’s experiencing as his mother passes slowly away. Some of the most beautiful moments are watching him try to cope with her impending death by making his art ever better.

“I am at rock bottom. That’s almost funny. There are no rocks here, it would be hard to explain even to somebody close what I mean. I am at rock bottom. Used up rhetorical phrase, says nothing. And still… I know there’s no sense or value to what I’m writing. But I must not scream.” – Tadeusz Różewicz

But there is sense to what he’s writing and this section struck me as a more emotive and poignant version of A Mourning Diary by Roland Barthes. The death of a loved one is something we all hope never to experience, but most likely will. I was glad to see another example of how a writer can turn even the worst of times into art.

Hybrid Forms

“You ought to be writing one single novel or play or one volume of poems all through your life” – Tadeusz Różewicz

The various viewpoints coalesce beautifully in this book. I think if Różewicz hadn’t focused so tightly around his mother, the book would have felt more sprawling. Instead that focus reminded me of Colette’s My Mother’s House. Mother Departs is certainly less whimsical, but it’s no less personal and poignant. And whereas Colette speaks from one viewpoint and completely in prose, Różewicz allows the reader to form his or her own relationship with the entire family. And readers of prose and poetry will find an entry point into this narrative.