The Book of Abish


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How German is it


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Ulrich Hargenau testifies against fellow members of a German terrorist group in order to save himself and his wife, Paula, and contemplates the nature of his German heritage.




Alphabetical Africa


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"Walter Abish has dovetailed his novel within a Procrustean scheme that has the terrifying and irrefutable logic of the alphabet. Alphabetical Africa is in the line of writers such as Raymond Roussel, Raymond Queneau, Georges Perec and Harry Mathews, who have used constrictive forms to penetrate the space on the other side of poetry." -- John Ashbery




Eclipse Fever


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Among the multifaceted characters whose lives interlock are Alejandro, a once-prominent literary critic fallen into disfavor; his estranged wife, Mercedes, whom he suspects of openly conducting an affair with an American writer; Bonny, the writer's runaway daughter, who is made to witness a calamitous sequence of events that culminates in murder; Preston, an American industrialist, and his sexually frustrated wife, Rita; and the unscrupulous art dealer Pech. As the lives of these people press together, as they buckle and collapse, the novel holds up a mirror to a moment in which we lived--the end of a millennium, of an era-- and to the perils, temptations, and hysteria that lie just below the surface.




Minds Meet


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99, the New Meaning


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Double Vision


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Does one ever escape from the family? How much do we understand about our own past? How do we come to be who we are? Walter Abish, the internationally acclaimed author of "How German Is It, examines these questions through the prism of his own experience, and confronts and encapsulates the historic upheavals of the mid-twentieth century in this brilliant, deceptively simple, and quietly wrenching account of his two journeys. The first begins in Vienna, where Abish was born in the 1930s in the Jewish, but not-too-Jewish, household of a prosperous perfumer. Then it ricochets around the world as his parents flee first to France (his mother had to sneak alone across the Italian border), then to war-torn Shanghai under Japanese occupation, just ahead of Mao's army, then to Israel. Incapable of understanding his family's desperate situation, Abish as a boy creates his own private world, filtering out precarious and terrifying realities. Abish describes fantastic events in the coolest tones. In precise, haunting detail, he records the perceptions of a child who registers and remembers what he will only later understand. He writes of the day in the park when a stranger suddenly screams "Jews out!" and he and his frail grandmother run for the exit in a panic as the other children and grandmothers stand and watch; the day his father is released by the Gestapo because a man in the room owes him money that he has never tried to collect and says, "Let Abish go--he's okay"; of the time his father speaks to him about inheriting his perfume business, as they stand on the deck of a ship bound for China. The first journey recounts the flight; the second journey chronicles the return: Abish writes about how, in the 1980s, he went on a tour to Germany to launch the translation of his award-winning novel "How German Is It--a book he wrote without ever having set foot there, deliberately, because he wished to elicit the idea of Germanness in what was "a fantasy of Germany." This tour of what to him is an unfamiliar society includes a side trip to Vienna, where he glimpses the life he might have experienced and has the horrifying feeling that he never left. "Double Vision is a book that cuts to the quick. With unflinching candor, humor, and affection, Abish re-creates the way it feels to be a child and to look at your parents and wonder who they are. To be an adult and catch them in every corner of your personality. To look back on the world of your youth and realize both what you noticed and what you missed. It is a stunning achievement.




Individuals


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1st Nephi


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The Book of Laman


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Mette Harrison is one of the best-known Mormon authors currently writing about Mormonism for a national audience. Her Linda Wallheim mystery series (The Bishop's Wife, His Right Hand, For Time and All Eternities, and, one hopes, many more to come) marks the first time ever that a strong and intelligent Mormon woman (or any other kind of Mormon woman for that matter) has had a starring role in a nationally marketed mystery series. In The Book of Laman, Harrison takes a concept that others have used for a quick joke-the idea of narrating the first part of the Book of Mormon from Laman's perspective-and turns it into a serious and profoundly moving story of redemption that has the ability to make us all better readers, and, more importantly, better people. From the Forward The central conceit of The Book of Laman-telling the story of 1 Nephi from Laman's perspective-seems like a perfect device for a funny book. Indeed, Bob Lewis used it precisely this way in his satirical 1997 novel, The Lost Plates of Laman. Here we see all of the jokes implied the first time we hear that Laman is the narrating the Book of Mormon: the villain becomes the hero, and the hero becomes an insufferable know-it-all, the archaic language is peppered with anachronisms and modern values, and the devotional content of the original text is sacrificed on the twin altars of mocking Mormon weirdness and having a grand time. But Mette Harrison's Book of Laman is not funny. It does not try to be funny. It doesn't use intentional archaisms to make fun of the Book of Mormon's language; rather, it tells its story in a non-distracting modern style. The characters are not simply reversed. Nephi is sometimes an annoying brat, but he is also a real prophet who sees and speaks for the Lord. Laman is neither a comic book villain nor a long-suffering ironist. He is a flawed human being struggling to live well and usually coming up short. And in some of the book's very best scenes, he is touched unexpectedly by grace and God. Harrison's characters are the sorts of people who might actually have existed in history. She does not naturalize the miracles in the Book of Mormon-there really are angels and visions and smiting and all the rest-but she humanizes the actors. And this is important, as it corrects for a reading bias that plagues Latter-day Saints. Simply put: we want the Book of Mormon to be history, not fiction, but we expect the people in it to act like characters in a (not very good) novel and not as the kinds of people who have actually ever existed.