Samanta Schweblin has almost become a household name. Her novella Fever Dreams has been one of the most talked about books in translation in recent yeSamanta Schweblin has almost become a household name. Her novella Fever Dreams has been one of the most talked about books in translation in recent years. It won so many awards, including the Shirley Jackson Award (2017), The Tournament of Books (2018), it made the Man Booker International Prize shortlist (2017) and the Warwick Prize for Women in Translation longlist (2017). Needless to say, when it was announced Mouthful of Birds was getting an English translation there was plenty of buzz surrounding it.
I first discovered Samanta Schweblin from the New York Review of Books podcast, they were talking about three Argentinean authors about to take the world by storm, Pola Oloixarac, Mariana Enríquez and Samanta Schweblin. Naturally I had to read the three books that came out around the same time. Random tangent, both Samanta Schweblin and Pola Oloixarac have books out this year, so where is the next Mariana Enríquez? Out of the three it was Fever Dreams that got all the attention, but for me Things We Lost In The Fire was the true highlight.
I feel like the buzz now for Mouthful of Birds is just people projecting their love for Fever Dreams onto it. There is something rugged and unfinished about this collection of short stories that did not sit right with me. I think a truly great short story collection have the stories complements each other and often share an overarching theme. Take Things We Lost In The Fire by Mariana Enríquez (also translated by Megan McDowell) for example. Each story delivers a powerful punch and complement the collection as a whole. Now looking at Mouthful of Birds, it does not have that same feeling, it is just a group of stories anthologised for the purpose of publishing.
I see so many people loving this book and it always seems to be referencing the same stories, like the one with the merman. My opinion is they liked the individual stories they reference but nothing is really said about the complete collection. I know what I like and fairytale retellings and mythological based stories are not for me, so this is the main reason Mouthful of Birds did not work for me. I know short story collections are hard to review as a whole collection, so people point out the stories they love. I prefer to read something where the stories all work together and offer so much more than a good tale.
Mouthful of Birds will serve well for the readers interested in the whole creative process. This is a collection of her earlier short stories. There are fragments of ideas that are being explored in Mouthful of Birds that could blossom into future novels. I see elements of Fever Dreams taking form in this collection and get the feeling this collection was only published because of all the hype surrounding Samanta Schweblin. While this was not the book for me, I know many people will enjoy reading more from Schweblin. I personally recommend picking up Things We Lost In The Fire by Mariana Enríquez instead.
I normally struggle to review short story collections, do I go through every story and share my opinions? Reading The World Goes On, all I could thinkI normally struggle to review short story collections, do I go through every story and share my opinions? Reading The World Goes On, all I could think is ‘I have no clue how to analyse and review this’. Rather than a review, I am going to just share my thoughts on this book, and hopefully it will eventually resemble a review.
The World Goes On is actually my second László Krasznahorkai, having read The Last Wolf / Herman earlier this year. I was struck with the thought that this might be the first Krasznahorkai that people might read. László Krasznahorkai won the Man Booker International Prize in 2015, before it was repackaged and combined with the Independent Foreign Fiction Prize (IFFP). However the publicsity around that award is nothing like it is today. This could be a combination of the older prize awarding an author for their contribution to fiction rather than a specific book and the rise of social media. Which brings me back to my original point, The World Goes On has been longlisted for the prize but it is not a good place to start for this Hungarian author. This feels like fragments of stories and ideas rather than an actual piece of fiction.
I think the judges for the 2018 Man Booker International Prize has gone out of their way to pick a longlist that showcases interesting narrative structures. While I appreciate the surprising entries on the list, it does make it less accessible. Having said that, I would be so mad if the Man Booker International Prize followed the trend of the Man Booker Prize and Women’s Prize for Fiction and just picked the most popular books. I want to see a balance between discovery and introducing new people to books in translation. I would hate to think how many people will not read more László Krasznahorkai because of The World Goes On.
László Krasznahorkai is a very talented writer; he has a post-modernist style, and it feels like he gets so bored, he has to set limitations on his own writing. In The World Goes On, you will find plenty of examples of him writing a one sentence story. I have to admit after reading this book and The Last Wolf, I wonder what Krasznahorkai has against the full stop. Like I said before, this feels more like a collection of ideas rather than short stories.
While I enjoy László Krasznahorkai as a writer, even I think I was not ready for The World Goes On. I am not giving up on this author, this is a book for the fans. Read The Last Wolf / Herman first, discover some of his novels and if you like his style and his view on the world, then read The World Goes On. I do not think this should have been on the longlist, and I hope it does not stop many people from enjoying László Krasznahorkai in the future.
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