Peter Nadas Archives - A Geography of Reading

If you’ve read more than a few of my reviews, you’ll notice that I usually only take the time to review books I like. That’s because I prefer to delve into the positive aspects of a work but also because my time is valuable and I often don’t finish books I’m not enjoying. At the beginning of this month I went back to work after maternity leave and time is now more precious than ever—evidenced by the fact that I tossed aside book after book in my first week back. This is the story of the books I didn’t finish and why.

Parallel Stories by Peter Nadas

This was actually the second time I tried to read this book. I took it on a week-long beach getaway for my husband’s and my first anniversary. Then it sat on my bedside table for a couple of years and I managed to read 100 pages before tucking it away. So when I knew I’d be home for a prolonged maternity leave, I dug it out again. I knew from reading Love and A Book of Memories that his work is often gorgeously slow but worth the effort.

Parallel Stories started out strong. A body is found on a bench and the first scene is a delicate and thoughtful interplay between an investigator and the man who either found the body or murdered the man. Nadas reveals so much of the men’s psychology as the scene unfolds and we come to learn that the investigator does suspect the man but that he actually doesn’t care. It’s very soon after the Berlin Wall came down and there is so much more going on in all of their lives. The scene is surprising and riveting.

If only the rest of the book was that way. Instead, Nadas starts following the story of a family in Hungary. We only really ever see two characters at a time in conversation and I came to understand that the juxtaposition of odd bits of these characters’ natures was the source of the title. I also stumbled on the most extensive and dull scenes of masturbation I’ve ever read. I kept trying to push farther into the book to see if we could get back to the mystery or if there was anyone I could care about in the book, but, well… eventually my poor brain was as chafed as the character’s genitals and I had to stop reading. At least I got over 200 pages into this 1100+ page tome.

Flaubert’s Parrot by Julian Barnes

I picked this book up at the local Little Free Library because I’ve enjoyed many of Julian Barnes’s novels. I thought it would be a quiet, meditative, well-written novel that would reach into my subconscious and teach me things about writing. I did not think it would be about Flaubert’s parrot. Literally. Well, actually, two parrots (because only one could have really been Flaubert’s), stuffed.

The book is filled with all kinds of biographical details about Flaubert’s life, which is great if you’re a Flaubert scholar or subscribe to the school of thought that the life of the writer is equally interesting to the work. I don’t. I did read the collected correspondence of Gustave Flaubert and George Sand because I adore the art of correspondence, and after that I knew more than enough about their lives.

It’s possible that this book contains a mystery or a brilliant narrative or some brilliant writing. I’ll never know because 60 pages were plenty to turn me off.

The Loser by George Konrad

Konrad is one of those obscure Eastern European writers I read in grad school. And loved. I read The Case Worker, a squirrely novel about a case worker in Communist Hungary. That one was hard to read but worth the effort. The Loser was just weird.

The book starts out in an outlandish nightmare then transitions to a mental asylum and then the countryside of Communist Hungary and then the asylum again. I think. The type was so small and the writing so dense that I only ever got between two and five pages read per night. So where I could have been immersed in a gorgeous metaphor that revealed what life really felt like in Communist Hungary, instead I felt like I was in a nightmare. Kind of like the time we watched a Japanese horror film in a drafty theater at midnight. This early bird kept falling asleep and waking again as the characters descended into a neon-lit Buddhist hell. I was freezing nd had no idea what was happening. All I wanted—during the movie and in this book—was to GET OUT. I think I completed a whole 40 pages.

Did I give these books their fair shake? Probably not. Am I too tired in these first couple of weeks as a working mother to really engage with literature? Maybe. Do I sound a little cranky? Yes. Sorry about that. I love books. I sincerely believe there are great books that will just never quite hit me right. These might be among them. But I’ll never know. If you want to find out for yourself whether I’ve just maligned some of the best books in the universe, check out the Little Free Library on 12th Ave NE and around 90th in Seattle later today 🙂

Thanks for bearing with me as I figure out this whole mom/worker/writer thing. I’m going to try to find something I enjoy and get a new review out to you soon. Just as soon as the kiddo and I finish another round of Dr. Seuss’s Mr. Brown Can Moo Can You? which he ADORES. And if he had his way, he’d grab this laptop right out of my hands and type up a review right quick. Or put it in his mouth. Judging by the way he “consumes” his favorite books, I’m not going to find out.

Overlapping Time

Early on, Nádas describes the scene in a series of staccato sentences that portray each moment of action in a way that would make any writing teacher cringe (though the influence of Proust is strong). Except that it works. Something about the way the tense shifts between sentences and he jumps from sight to sight and back again makes you feel as though you are present in the room for a familiar scene that has been played out many times.

“At the table I was sitting in the armchair, half naked. All the paraphernalia on the table. A pack of cigarettes. Grass in a small plastic bag. Scissors, matches. A clean sheet of paper. She takes a cigarette out of the pack, then a matchstick from the matchbox. With the match she scoops out the tobacco, careful not to graze the fine paper shell of the cigarette. I am not leaning back. My shirt is on the backrest of the armchair, her green dress spread out over my shirt. She likes to walk around naked; it’s hot. The tobacco is spilled out on the sheet of paper. Her breasts tremble imperceptibly, following with a slight delay the rhythm of her movements…”

Nádas later recreates snippets of this moment so that you feel stranded in a series of overlapping moments. You feel like you are watching many versions of the same scene as it has happened over and over and the writer has overlapped them to show how the relationship is suspended in one place. It’s amazing.

Show Don’t Tell

But then the book changes. As the narrator is mired inside this moment, he starts to go mad. The luscious repetition that felt like it was describing a state of being becomes mired in its own inability to move forward. The narrator is standing in the middle of the room and he feels the draw of jumping off the balcony and he is thirsty. Time passes or does not pass. And we are entirely in the narrator’s head.

“If, then, I exist only as a fragment of my former, whole self, but this fragment now seems to be between my two potential human capacities. Where? Where my story is stripped down to its bare essentials: between existence and nonexistence. That’s where I am conceptually…”

The passage was intellectually interesting, but it left me cold emotionally. Which was weird in the middle of this tortured moment in a love affair. Here’s how António Lobo Antunes shows stillness:

“Agitated on the inside by disgust but with nothing showing in their immobile features, absolutely still, as unmoving as those of landscapes, of photographs, of summer sunsets, nothing showing in their ever-horizontal features, decomposing silently in the Formica chairs.”

Rather than thinking words like “exist” and “capacities,” Antunes uses emotive words like “agitated,” “disgust,” and “decomposing.” Okay, that last one may not be emotive but it surely is evocative. I wanted badly for Nádas to get out of his head and let me experience the moment. But maybe that’s why the narrator was mired in his situation in the first place. But I tired of standing at the edge of the cliff with him.

Conclusion

This book taught me a lot of things. First, though I grew up in an intellectual household and often revert to a thinking mode of speech, what has the power to move me is emotion and I should be using more of that in my writing. Second, just because I like a writer does not mean I will like all of their work. And third, it’s time to start looking within when writing my next book. The sources of inspiration are endless, but I know what I want and what I need and the time to start working is now.

Happy NaNoWriMo! Are you balancing inspiration and creation better than I am?

If this review made you want to read the book, pick up a copy of Love from Powell’s Books. Your purchase keeps indie booksellers in business and I receive a commission.