August 23, 2014 | Rome, Italy | Partly Cloudy 28°C
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Fiction

War Music

Christopher Logue's personal "Iliad" recharges Homer and makes the ancient actual.

The Great Fire

For Shirley Hazzard, mid-20th century fires raged both in both world and heart.

Break it Down

Lydia Davis' early stories demonstrate an uncanny gift for "real-time" subversion.

Death Sentence (L'Arrêt de mort)

Blanchot's seminal "novel" is about the act of creation itself, and its costs.

Talking to Ourselves

Andrés Neuman's slender but astute novel examines death from three sides.

The Unknown Quantity

Hermann Broch's novel of the life and times of a 1920s mathematician is sadly overlooked.

Can't and Won't

Lydia Davis has a problem: she can't not display her ingenious bravura.

Open City

What's most impressive about Teju Cole's debut is its modulated darkness.

Never Love a Gambler

Irish writer Keith Ridgway is beautifully uncompromising in his pitch-perfect thug chronicles.

Scenes From Village Life

Amos Oz's interlocking stories are parables for a brilliant, haunted nation.




BOOK REVIEW
The Dog
By Jack Livings
Farrar, Strauss and Giroux, 2014. 226 pages

American Jack Livings has absorbed contemporary China as a napkin does moisture. He has an intuitive affinity with a world that is not culturally his but which seems to possesses, at least fictionally. He tells eight distinct stories covering paupers, gangsters, expats, bureaucrats, peasants and hacks. Some are vernacular fictions, others semi-historical reconstructions. In "The Crystal Sarcophagus," he sketches out the lives of the beleaguered glass workers — Job-like yes-men or Heroes of the People — tasked with the 1976 building of Mao's crystal coffin in record time. These men, party hacks and workers alike, the noble and the wretched, possess a singleness of collective purpose that unhinges Western individualism ("The Party outranked physical laws, scientific fact, logic.")

Some characters buck the corrupt system, weary of bribes and payoffs. Wealthy Yang in "Donate!" is wistful for poorer days. Modern life lacks civics. Bribes depress him. But he understands the rules by which he must play. There are criminals and thugs, Uyghur boss Omar foremost among them. In "The Heir," his resistance to Chinese Han "defilement" is equal parts ferocity and kowtowing. He is a killer who takes the long view, which means accepting daily humiliation while "dreaming of open skies and the steppes. The intimacy of emptiness." Expatriates make an appearance, but white woman Claire in "The Pocketbook" is isolated, lonely, and on the outside looking into a surreal linguistic and cultural hubbub she hardly understand. In the title story, the prospect of eating of a racing dog sets a husband, wife and greedy cousin on a collision course that reverberates with carnal anger.

Pride, resentment, resignation and paranoid stream through these often eviscerating stories. "Everyone was scrambling to stake out his little patch of scorched earth," Livings writes of a group of feuding stock traders. But all the earth is scorched — when not made to tremble by earthquakes. All is also are in hock: to bosses, to party cadres, to their families, to codes of physical and emotional violence.

With poetic flourish and detail-oriented aplomb, he has produced English-language stories whose sensibilities speak Mandarin and make an art form from jarring juxtaposition ("Beneath a loudspeaker blaring a tinny pop song, a sculptor worked dung into detailed miniature animals.") The real language here is a universal one, spoken by people who are hopeful, downcast, and then hopeful again.

Reviewed by Book Staff
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