Search results for ""Mathias Enard" "Zone""

Book SynopsisTo research his thesis on contemporary agrarian life, anthropology student David Mazon moves from Paris to La Pierre-Saint-Christophe, a village in the marshlands of western France. Determined to capture the essence of rurality, the intrepid scholar shuttles around on his moped to interview local residents. Unbeknownst to David, in these nondescript lands, once theatres of wars and revolutions, Death leads the dance. When an existence ends, the Wheel of Life recycles its soul and hurls it back into the world as microbe, human or wild animal, sometimes in the past, sometimes in the future. Only once a year do Death and the living observe a temporary truce, during a gargantuan three-day feast where gravediggers gorge themselves on food, libations and language. Brimming with Mathias Enard’s characteristic wit and encyclopaedic brilliance, The Annual Banquet of the Gravediggers’ Guild is a riotous novel where the edges between past and present are constantly dissolving against a Rabelaisian backdrop of excess – and a paradoxically macabre paean to life’s richness.Trade Review‘Enard is a writer of singular talent…. Just buy it and open up the field diary of a pretentious young man in the arse-end of nowhere in France, and see what a really great writer can do with almost anything.’ — John Phipps, The Times‘Énard is wickedly, brilliantly, subversive of sanctity….Despite its macabre title and subject matter, this novel is a capacious celebration of life, love and language.’ — Ruth Scurr, Guardian‘The Annual Banquet of the Gravediggers’ Guild is an earthy, Rabelaisian riot of a novel, dripping with slime, bugs, gluttony, death and bawdy decay….It is a dizzying concoction, which almost topples under its own inventive weight. In the end, though, it is held together by David’s own story which, like Maître Susane’s, carries a surprising tenderness.’ — Sophie Pedder, Economist ‘[T]he real story becomes history, the fluidity of time, the democratizing powers of death, and — through a stew of Buddhist, Christian and Islamic philosophies — the cyclical jumble of life. This is Énard at his best, calling to mind the erudite historical sweep of his 2008 debut, Zone.’ — Martin Riker, New York Times ‘When French gravediggers gather for their annual banquet in Mathias Enard’s magnificent new novel, they banish the ghosts by feasting on a grand, Rabelaisian scale[...]In The Annual Banquet of the Gravediggers’ Guild the focus shifts from the macroscopic to the microscopic, opening up La Pierre-Saint-Christophe to the relentless fractal curiosity of a writer fascinated by the depths of the infinitely small. The epic nosh-up, hosted by the local undertaker Martial Pouvreau, allows Enard to engage in an alternative history of France, looking to the inexhaustible resources of the provinces rather than to the gilded stories of the metropolis. The challenges for the translator of Enard’s remarkable novel are endless from the rendering of punning proper names to the encyclopedic survey of French gastronomy and the capture of French dialect speech. Frank Wynne, the prize-winning Irish translator, proves himself more than equal to the task and ensures that, for English-readers, the invitation to the banquet leaves us hungry for more.’ — Michael Cronin, Irish Times‘Recklessly, omnisciently, dazzlingly, Mathias Enard over the last twenty years has been inventing one of the most visionary oeuvres in French literature. In this book, by excavating a remote rural corner and inhabiting in turn every living thing there, man, woman and beast, he gives us the gift of deep verticality, where a sentence spools into other sentences, other stories, other epochs, and resolves into a history of Europe.’ — Jeet Thayil, author of Names of the Women‘Mathias Enard is one of the best contemporary French writers, and his works – ambitious, erudite, multifaceted, surprising and unconventional – are always worth reading, because they always strike a perfect balance between the best that literature can offer: pleasure and knowledge.’ — Javier Cercas, author of The Impostor‘Every novel by Mathias Enard reminds me of the reasons why I read fiction. He is ambitious, erudite, full of life, and a wonderful stylist to boot. He is one of the great novelists of our time.’ — Juan Gabriel Vásquez, author of The Shape of the Ruins‘Mathias Enard is an immensely ambitious writer.... Fortunately, his ambition is matched by an equally extraordinary talent. His elegant prose ... is admirably precise and intellectually limpid – he makes no concessions.’ — Alberto Manguel, El País‘All of Enard’s books share the hope of transposing prose into the empyrean of pure sound, where words can never correspond to stable meanings. He’s the composer of a discomposing age.’ — Joshua Cohen, New York Times ‘A novelist like Enard feels particularly necessary right now, though to say this may actually be to undersell his work. He is not a polemicist but an artist, one whose novels will always have something to say to us.’ — Christopher Beha, Harper’s‘The most brazenly lapel-grabbing French writer since Michel Houellebecq.’ — Leo Robson, New Statesman ‘Rarely has a book about death been so joyful.... With The Annual Banquet of the Gravediggers’ Guild, Mathias Enard offers up both the most excessive and the most consolatory novel written in a long time.’ — Florence Buchy, Le Monde‘Although his focus here is on the Poitevin marshes, Mathias Enard remains above all an explorer who is peerless in his ability to join together places, cultures and epochs, always returning to love, to death and to what they can generate together.’ — Baptiste Liger, Lire‘A baroque, Rabelaisian tale.... Mathias Enard’s pen and unbridled imagination lead the saraband, the bacchanalia, until we've had our fill.’ — Thierry Clermont, Le Figaro‘A wonderfully unclassifiable novel. Contemporary, historical, comical, truculent, poetic, with elements of the diary, the fable, the short story... The Annual Banquet of the Gravediggers’ Guild is shot through with Mathias Enard’s deep love of literature.’ — Muriel Mingaud, Centre France‘This is a book that elicits a visceral response from the reader.’ — Josh Zajdman, Washington Post

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Book SynopsisAs night falls over Vienna, Franz Ritter, an insomniac musicologist, takes to his sickbed with an unspecified illness and spends a restless night drifting between dreams and memories, revisiting the important chapters of his life: his ongoing fascination with the Middle East and his numerous travels to Istanbul, Aleppo, Damascus, and Tehran, as well as the various writers, artists, musicians, academics, orientalists, and explorers who populate this vast dreamscape. At the centre of these memories is his elusive, unrequited love, Sarah, a fiercely intelligent French scholar caught in the intricate tension between Europe and the Middle East. An immersive, nocturnal, musical novel, full of generous erudition and bittersweet humour, Compass is a journey and a declaration of admiration, a quest for the otherness inside us all and a hand reaching out – like a bridge between West and East, yesterday and tomorrow. Winner of the 2015 Prix Goncourt, this is Mathias Enard’s most ambitious novel since Zone.Trade Review‘One of the finest European novels in recent memory.’ — Adrian Nathan West, Literary Review‘Few works of contemporary fiction will yield as much pleasure as Compass. Reading it amounts to wandering into a library arranged in the form of an exotic sweet shop, full of tempting fragments of stories guaranteed leaving you wanting more.’ — Eileen Battersby, Irish Times‘Compass is a challenging, brilliant, and – God help me – important a novel as is likely to be published this year.’ — Justin Taylor, Los Angeles Times‘Crisply translated by Charlotte Mandell (as was Zone), Compass is Proustian in its set-up. There are passages of pure delight with rare insight into the human condition.’ — Tobias Grey, Financial Times‘The French novelist Mathias Enard is an unusual kind of regionalist. His great subject isn’t a small town or neighborhood but the vast Mediterranean basin, and practically everyone within it. Enard speaks Persian and Arabic, and he has taught at universities throughout Europe and the Middle East. He sees the Mediterranean as a distinct literary and historical region, a “zone,” as he called it in his novel of the same title. In nine books, three of which have been translated into English, he has charted a course through this zone, writing about sectarian violence in the Balkans; the varying tugs of jihadism, tradition, and globalization in Morocco; and a rogue’s gallery of thieves, killers, and eccentrics. Enard’s prose, which tends to pile descriptive clauses ever higher on top of one another (Zone is a single, five-hundred-page sentence), can be mesmerizing. But it’s the larger project of his writing that bears particular consideration: in his fiction, Enard is constructing an intricate, history-rich vision of a persistently misunderstood part of the world.’ — Jacob Silverman, New Yorker‘Enard is like the anti-Houellebecq, and he deserves far more attention.’ — Sam Sacks, Wall Street Journal ‘The beauty of Compass is the sheer breadth and density of its vision, calling forth a multitude of different worlds, bound only by the capacious mind of its narrator, an aging Austrian musicologist named Franz Ritter.’ — Jeffrey Zuckerman, New Republic‘A love letter to the cosmopolitan Middle East ... [a] strangely powerful work.’ — Steven Poole, Guardian

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