Showing posts with label Hari Kunzru. Show all posts
Showing posts with label Hari Kunzru. Show all posts

Sunday, January 23, 2022

‘My Struggle: Book 5’ by Karl Ove Knausgaard

 




‘My Struggle: Book 5,’ by Karl Ove Knausgaard

By Hari Kunzru
April 27, 2016

MY STRUGGLE
Book 5
By Karl Ove Knausgaard
Translated by Don Bartlett
624 pp. Archipelago Books. $27.


Almost 600 pages into this, the fifth volume of Karl Ove Knausgaard’s monumental “My Struggle,” the 28-year-old would-be novelist finally secures a book deal. He has been writing for a decade with immense seriousness and little success. At one point he reprints a few overwrought paragraphs, which he once hoped would form the beginning of a novel. “This is what I had,” he writes. “Two years’ work. I knew every sentence by heart.”

Tuesday, November 21, 2017

The Top 10 Novels of 2017



The Top 10 Novels of 2017

By SARAH BEGLEY
November 21, 2017
Fiction publishers complained that 2017 was a difficult year to get attention in a fast-moving media climate that was intensely political. But some of the year’s best novels spoke to current events, whether directly (as in Mohsin Hamid’s refugee story Exit West) or indirectly (George Saunders’s Lincoln in the Bardois about the Civil War, but its comments on race feel relevant to the present). Other common themes emerge: new parenthood, a search for identity, an obsession with the past. Several of them feature ghosts. But two elements unite every title on the list: compelling writing and fresh storytelling.

10. New People, Danzy Senna

Senna’s latest racial satire focuses on a multiracial couple, Khalil and Maria, in which each half is grappling with complicated feelings about identity. With humor, understanding and a touch of sympathy, Senna’s novel is both knowing and biting.


9. Days Without End, Sebastian Barry

In this riff on the American frontier genre, narrator Thomas McNulty and his sweetheart John Cole live through a series of trials: performing as women in a saloon, fighting in the Indian and Civil Wars, escaping random attacks in Postbellum South and avoiding being caught as gay lovers. Their story is both simple and strikingly choreographed.

8. The Ninth HourAlice McDermott

The Little Nursing Sisters of the Sick Poor meet Annie at her lowest point: she’s pregnant, and her husband has just committed suicide. With help from the nuns, Annie and her daughter are spared from destitution—but the intervention has ramifications that echo through generations. McDermott offers up a version of sisterhood that’s both historical and relevant.

7. The ChangelingVictor LaValle

The myth of the bad mom gets the horror-story treatment in this novel, which takes place deep in the boroughs of New York City. Apollo Kagwa and his wife Emma Valentine are thrilled to welcome their first child, but soon after his birth, Emma feels a strange distance from her son—is this the boy she birthed, or some sinister imposter? The story cleverly interrogates parenting norms, racial prejudice and technological quandaries.

Exit WestMohsin Hamid

Hamid tells the story of a couple whose love story begins just as war breaks out in their city, which is unnamed but resembles Lahore. The only path to safety is through a series of enchanted doors that lead them, and a surge of other refugees from around the world, to western cities where they face new threats from the residents who’d prefer these migrants went back to where they came from.




5. Lincoln in the Bardo, George Saunders

In his first full novel, Saunders has gained an even wider audience, winning the 2017 Man Booker Prize for this historical ghost story about Abraham Lincoln. The night after his young son is buried, as the Civil War rages, the President visits the cemetery for a final farewell, only to be observed by a ragtag cast of souls who can’t bring themselves to leave their earthly remains behind.

4. Manhattan Beach, Jennifer Egan

The Pulitzer Prize winner’s new novel, seven years after A Visit From the Good Squad, marks a move away from the experimental—this is a straight historical novel, set mainly during World War II. The book’s heroine, Anna Kerrigan, is a character perfectly calibrated for Hollywood, with verve, vulnerability, and a tough-as-nails glamour that transitions from her job as the first female diver to work on war ships to her nights in gangster-filled night clubs.

3. Transit, Rachel Cusk


Rachel Cusk


Cusk’s second novel in a planned trilogy goes minimal on plot, maximal on observation. The plot structure in the book is the renovation of the narrator’s London flat, and the spirit of transformation is mirrored in her conversations: With her contractors, her friends, her old flame. Through elegant meditations on contemporary life, Cusk’s depiction of her narrator is not so much portrait as a photo negative—mysterious, poetic and in contrast to her world.

2. White Tears, Hari Kunzru

The British novelist skewers American culture in this treatise on whiteness and cultural appropriation. Two young white men breaking into the music industry find success when they record random noises in a New York City park and discover the voice of a man who wasn’t there. They pass the recording off as a rediscovered blues song—only to learn their lie may be accidentally based in reality. The hunt for the truth takes them on an unnerving journey through the past.
1. Sing, Unburied, Sing, Jesmyn Ward
Ward’s third book set in the fictional town of Bois Sauvage, based on her hometown of DeLisle, Miss., conjures the same raw emotion of her previous works, like the Hurricane Katrina novel Salvage the Bones. But this time, a sense of magical realism deepens the ghostly sense of the past reaching out to touch—or even strangle—the present. Ward’s novel is a true triple threat, expert in prose, human observation and social commentary.

Saturday, October 28, 2017

Thus Bad Begins by Javier Marías review / ‘A demonstration of what fiction can achieve’

Javier Marìas


Thus Bad Begins by Javier Marías review – ‘a demonstration of what fiction can achieve’



An unhappy marriage reflects the trauma inflicted by years of fascist rule in a probing novel from the celebrated Spanish author


Hari Kunzru
Friday 26 February 2016 07.30 GMT

This is a grubby c ountry.” So says Eduardo Muriel, a producer of B-movies, to Juan, the narrator of Thus Bad Begins, the latest novel by the revered Spanish writer Javier Marías. The grubbiness in question is the taint of decades of rule by the fascist victors of the civil war, the franquistas who have revenged themselves upon their Republican colleagues and neighbours, leaving many of those not dead or in prison unable to pursue careers or support their families.

Wednesday, October 25, 2017

Lincoln in the Bardo by George Saunders review / Extraordinary story of the afterlife

George Saunders
Poster de T.A.


Lincoln in the Bardo by George Saunders review – extraordinary story of the afterlife



The short story master’s first novel is a tale of great formal daring, set in the cemetery where Abraham Lincoln mourns his son


Hari Kunzru
Wednesday 8 March 2017 12.00 GMT

S
ince the days of the beats, the Bardo Thodol has been known in the west as The Tibetan Book of the Dead. A more accurate if less catchy title is “Great Liberation on Hearing in the Intermediate State”. Waking life, dreams, meditation and in particular the period between death and rebirth are all bardos, states of consciousness sandwiched between other states of consciousness. We are always in transition, from dreams to wakefulness, from life to death. When someone dies, Tibetan Buddhists believe that they enter the bardo of the time of death, in which they will either ascend towards nirvana, and be able to escape the cycle of action and suffering that characterises human life on earth, or gradually fall back, through increasingly wild and scary hallucinations, until they are born again into a new body. The Bardo Thodol is intended to be read to them during this journey, an instruction manual to assist them on their way.

Tenth of December by George Saunders / Review by Hari Kunzru





Tenth of December by George Saunders – review


These flamboyant satires of post-crash life give a more acute sense of modern western existence than much journalism

Hari Kunzru
Thursday 3 January 2013 16.10 GMT


S
ince 1996, with the publication of his first collection CivilWarLand in Bad Decline, George Saunders's flamboyant satires of American life have become a major influence on a generation of younger short story writers, both in the US and internationally. His new collection, Tenth of December, is funny, poignant – in flashes, deeply moving – light as a feather, and consistently weird in the way that the suburbs are weird, which is to say quietly but intensely, under a surface as clean and bright as a newly waxed car.

Twitter fiction / 21 authors try their hand at 140-character novels




Twitter fiction: 21 authors try their hand at 140-character novels



We challenged well-known writers – from Ian Rankin and Helen Fielding to Jeffrey Archer and Jilly Cooper – to come up with a story of up to 140 characters. This is their stab at Twitter fiction

Geoff Dyer

I know I said that if I lived to 100 I'd not regret what happened last night. But I woke up this morning and a century had passed. Sorry.

James Meek

He said he was leaving her. "But I love you," she said. "I know," he said. "Thanks. It's what gave me the strength to love somebody else."

Jackie Collins

She smiled, he smiled back, it was lust at first sight, but then she discovered he was married, too bad it couldn't go anywhere.

Ian Rankin

I opened the door to our flat and you were standing there, cleaver raised. Somehow you'd found out about the photos. My jaw hit the floor.

Blake Morrison

Blonde, GSOH, 28. Great! Ideal mate! Fix date. Tate. Nervous wait. She's late. Doh, just my fate. Wrong candidate. Blond – and I'm straight.

David Lodge

"Your money or your life!" "I'm sorry, my dear, but you know it would kill me to lose my money," said the partially deaf miser to his wife.

AM Homes

Sometimes we wonder why sorrow so heavy when happiness is like helium.

Sophie Hannah

I had land, money. For each rejected novel I built one house. Ben had to drown because he bought Plot 15. My 15th book? The victim drowned.

Andrew O'Hagan

Clyde stole a lychee and ate it in the shower. Then his brother took a bottle of pills believing character is just a luxury. God. The twins.

AL Kennedy

It's good that you're busy. Not great. Good, though. But the silence, that's hard. I don't know what it means: whether you're OK, if I'm OK.

Jeffrey Archer

"It's a miracle he survived," said the doctor. "It was God's will," said Mrs Schicklgruber. "What will you call him?" "Adolf," she replied.

Anne Enright

The internet ate my novel, but this is much more fun #careerchange #nolookingback oh but #worldsosilentnow Hey!

Patrick Neate

ur profile pic: happy – smiling & smoking. ur last post: "home!" ur hrt gave out @35. ur profile undeleted 6 months on. ur epitaph: "home!"

Hari Kunzru

I'm here w/ disk. Where ru? Mall too crowded to see. I don't feel safe. What do you mean you didn't send any text? Those aren't your guys?

SJ Watson
She thanks me for the drink, but says we're not suited. I'm a little "intense". So what? I followed her home. She hasn't seen anything yet.

Helen Fielding

OK. Should not have logged on to your email but suggest if going on marriedaffair.com don't use our children's names as password.

Simon Armitage

Blaise Pascal didn't tweet and neither did Mark Twain. When it came to writing something short & sweet neither Blaise nor Mark had the time.

Charlie Higson

Jack was sad in the orphanage til he befriended a talking rat who showed him a hoard of gold under the floor. Then the rat bit him & he died.

India Knight
Soften, my arse. I'm a geezer. I'm a rock-hard little bastard. Until I go mushy overnight for you, babe. #pears

Jilly Cooper

Tom sent his wife's valentine to his mistress and vice versa. Poor Tom's a-cold and double dumped.

Rachel Johnson

Rose went to Eve's house but she wasn't there. But Eve's father was. Alone. One thing led to another. He got 10 years.
THE GUARDIAN



Saturday, May 13, 2017

My writing day / Hari Kunzru / ‘Espresso is all that stands between us and creative defeat’

I get some good thinking done at night, though I have to make myself stop and wind down … Hari Kunzru. Illustration: Alan Vest

My writing day

Hari Kunzru: ‘Espresso is all that stands between us and creative defeat’


The novelist on being woken at 5am, the best way to tackle street noise and the joys of keyboard fetishism

Hari Kunzru
Saturday 13 May 2017 10.00 BST


M
y writing day begins at about 5am when my daughter, aged 10 months, begins to yell imperiously in her crib. Usually Katie (my wife, also a novelist) brings her into bed and feeds her, which used to knock her back out, but her will is strong these days and by 6am or so she’s usually practising her fine motor skills by hooking a finger into one of my nostrils or pulling her mom’s hair or unpicking the insulation on the electrical cabling of the bedside lamp. Around this time, her four-year-old brother joins in too, and I usually end up taking them downstairs so Katie can get another hour of sleep. Fooling around in the sitting room eventually turns into breakfast and showers and wearing underwear on heads and making lunch to take to preschool, which is a short walk away from our house. After our son has been deposited with his classmates and is busy doing whatever is on the menu for the day – fingerpainting or scraping credit card numbers or making IEDs out of common household materials – we drag our weary carcasses to a coffee shop to acquire the strong espresso drinks that are all that stand between us and total creative defeat.


Ideally I write in a silent room with a magnificent and inspiring view of the natural world. I do not always have access to such a room. Instead I have street noise and an inbox full of administrative email, and if I’m really unlucky, actual phone calls to make. When I was depressed and unpublished and in my early 20s, I developed a full-blown phone phobia. I could put off the simplest call for days at a time. I still hate having to talk to the bank or the accountant, and find it hard to concentrate on writing until I’ve dealt with that kind of task.
Both Katie and I write at home. When the sitter turns up at 10am, the household settles down. I used to waste an improbable amount of time, but I don’t have that luxury now. I create my space with headphones, big over-the-ear cans that block out the world. I play music, usually something very minimal at low volume, just enough to trick myself into the meditative concentration I need to write. No vocal music for obvious reasons, though vocals can be OK if they’re in a language I don’t understand. When something works, it disappears and becomes an environment in which I can think. A Red Score in Tile, a 45-minute piece by William Basinski, is working right now. I am always on the lookout for writing music. I occasionally swap playlists with other writers. There are moods when I can write to Ravel solo piano or Basic Channel, and other moods in which I get distracted and just end up listening instead of working.

I have a desktop computer and a laptop. For a novel I make a single Word document, but rename it every morning, so I have a way to track versions if I need to dig out something I cut. I make notes on paper, in spiral-bound notebooks, but my handwriting is terrible, particularly if I’m trying to set ideas down quickly, and it’s much faster to type. I back up. I can’t understand writers who don’t back up. I look at a monitor jacked up to eye height on a pile of books. My desk is usually cluttered. I recently bought myself a good keyboard (one with mechanical switches, but that’s not too loud) and I wish I’d succumbed to keyboard fetishism years ago. What can I say? It’s a nicer ride. I spend a lot of time on the internet, but some of it’s research. My concentration is better when I’m not toggling between my Word doc and 30 different tabs on a browser.

Some days everything goes according to plan. If I’m under pressure and/or really into what I’m doing, I’ll eat at my desk. On other days, Katie and I will have lunch together, or end up playing with the baby or chatting to the sitter. Our son comes home at 4pm, and he’ll often bust down my door and come up for a cuddle. I’m always happy to see him. If I’m in the zone, I’ll kick him out and keep going until 6pm, when dinner, bathtime and reading bedtime stories take over. Some nights we’ll be out, or watch a video at home, but once the last foray out of the bedroom has been repulsed, we’ll often both start work again. I get some good thinking done at night, though I have to make myself stop and wind down, because if I lose too much sleep, I can’t function.

In brief

Hours at computer: 6-10
Hours wasted on internet: define wasted
Coffee: one early, perhaps another at home after lunch
Other consumption: yes
 Hari Kunzru's White Tears is published by Hamish Hamilton. 

THE GUARDIAN



My writing day





Saturday, December 27, 2014

Karl Ove Knausgaard / The latest literary sensation

Karl Ove Knausgaard

Karl Ove Knausgaard

The latest literary sensation

Zadie Smith says she needs his books 'like crack'. The Norwegian writer's unflinching six-volume account of his day-to-day life has also provoked legal action and death threats. Is he brave or shameless, asks Hari Kunzru


Hari Kunzru
The Guardian, Friday 7 March 2014 14.00 GMT


Sometime in 2006 or 2007, Karl Ove Knausgaard, an acclaimed novelist in his native Norway, discovered that he was sick of fiction. "It was a crisis," he wrote. "Just the thought of a fabricated character in a fabricated plot made me nauseous." The only genres of writing he still found valuable were diaries and essays, "the types of literature that just consisted of a voice, the voice of your own personality, a life, a face, a gaze you could meet". His solution was to embark on a massive project, a first-person narrative about his life that eventually ran to six volumes and 3,600 pages. He wrote at a feverish pace, publishing three books in 2009, two more the following year and a 1,000-page finale in 2011.
The reaction in Norway was unprecedented. By 2012, the books had sold 458,000 copies – a staggering figure in a country of 5 million people. Knausgaard's unflinching descriptions of his marriages, his father's alcoholism, his second wife's bipolar disorder and his conflicted feelings about fatherhood were profoundly shocking to the Lutheran sensibilities of a country that is less comfortable with public confessions than the Oprah-soaked anglophone world. Commentators obsessed over the new literary sensation. Was Knausgaard brave or shameless? Was it ethical to reveal so many other people's private lives along with his own? He received hate mail, death threats. His uncle started legal action. One Swede took the extreme critical step of setting fire to the K section of a Malmö bookstore, telling police that he did it because Knausgaard was "the worst author in the world". And what about the title – Min Kamp or My Struggle, a reference to Hitler's notorious autobiography? The final book (yet to appear in English) contains a 400-page essay on the Nazis and ends with a discussion of the anti-immigrant mass murderer Anders Breivik. What face was this man revealing? What kind of gaze did he want his readers to meet?

Saturday, November 22, 2003

Hari Kunzru / I am one of Them


I am one of Them


Why I refused a literary award sponsored by the xenophobic Mail on Sunday

Saturday 22 November 2003 01.56 GMT

I
'm writing this in a small town in south India, and being so far away from London literary gossip, I have been relatively insulated from the reaction to my decision to turn down the John Llewellyn Rhys Prize. I chose to do so - and to do so publicly - because otherwise I would have felt like a hypocrite. I understand that some of the judges are angry at the use of the prize luncheon as a political platform. To them I can only apologise and say that sometimes questions of literary value are inseparable from politics. The presence of the Mail on Sunday as sponsor of the prize made this such a moment.

The John Llewellyn Rhys prize is a venerable British literary institution. It has been won by several writers whose work I admire, like Angela Carter and Jonathan Coe. I was, like any young novelist, honoured that a jury had chosen to shortlist my first published work. But if one is to take a book prize seriously, one has to ask about its function.
For the winning writer, this is obvious. It brings publicity and may constitute the first (perhaps faltering) steps towards inclusion in a canon. For a sponsor, it is a way of linking its product to the actual or supposed cultural value of literary activity. By accepting, I would have been giving legitimacy to a publication that has, over many years, shown itself to be extremely xenophobic - an absurdity for a novelist of mixed race who is supposedly being honoured for a book about the stupidity of racial classifications and the seedy underside of empire.

One of the ugliest developments in recent British political life has been the emergence of the "asylum seeker" as a bogeyman for middle England. I have spent some years feeling depressed about the extraordinary media hostility towards refugees, those claiming asylum and those (oh most horrific!) "economic migrants" whose crime it is to sneak into a rich country looking for a better quality of life.
This point of view does, of course, sell papers. There is a sector of the British public more than willing to buy tall tales of scrounging, criminality, disease and vice. The Mail has always been quick to cash in on prejudice, and its cynical promotion of ignorance over tolerance has always made me angry. The Mail's campaign to persuade its readers that they live in dangerous times, that the white cliffs of Dover are about to be "swamped" or "overrun" by swan-eating Kosovans or HIV positive central Africans would, in isolation, be merely amusing. However, the attitudes it promotes towards immigrants have real consequences. Bricks through windows. Knives in guts.
Standing up for refugees seems, at the moment, to be an unpopular cause. British politics addresses itself to the swing vote at the centre, the nervous middle Englanders. Thus the Blair government is keen to show how tough it can be, and we are presented with the unpleasant spectacle of privately run prison camps and a home secretary who always appears to be wondering aloud why They can't be more like Us.
My politics start from a different perspective. Britain is a wealthy country, and a safe country. We also have a reputation as a fair country, a reputation earned, paradoxically, by generations of hard-working imperial administrators who believed in the old-fashioned public school values that the Mail pretends to uphold. We have a duty of care for refugees, and it is distasteful to watch our politicians doing their best to shirk it, in order to persuade voters that their rose-trellised cottages are safe from the dark hordes across the Channel.
What is an "economic migrant" but someone who has followed that sage Norman Tebbit, and "got on their bikes to look for work"? Our global system promotes the free movement of capital, yet it prevents the free movement of people to follow that capital, which concentrates itself behind tightly controlled borders while the hungry look in, their appetites whetted by satellite TV images of the consumer wealth they are denied. Wouldn't you jump a train or hide in a lorry for a chance to live on the other side of that border? I know I would.
Every time you go to a restaurant, or stay in a hotel, or walk over a clean floor in a public building, you may be feeling the benefits of "economic migration". If you don't like Them coming Here, the solution isn't to chuck them in prison, but to redistribute global wealth so they don't have to. Only desperate people travel thousands of miles from home to clean toilets.
I want my work to help reduce prejudice, not reinforce it. Accepting this prize would, sadly, have been a betrayal of that principle. Instead, I have been afforded an opportunity to put a different case. For that I am grateful, as I am to my agent, Jonny Geller, who bravely delivered my statement to what I can only imagine was an icy reception at the Reform Club.

· Hari Kunzru is the author of The Impressionist. He asked the Mail to donate his £5,000 award to the Refugee Council.