|Ilja Leonardo Pfeijffer: La Superba
(tr. Michele Hutchison)
Albert Camus: L'Etranger
The Meursault Investigation
(tr. John Cullen)
I'm not complaining: her betrothed is an excellent man, a journalist and a translator; as a writer myself I can forgive his being an editor. The wedding is set for — well, as soon as our government allows him a visa: if not this year in this country, then I would bet in Italy, whose view of immigration, troubled as it is, is officially more generous than that of our present administration.
Recently, then, my reading has gravitated toward the question of African emigration to Europe. Thank Zeus Xenios for our extended (though in truth mostly European) family! Tom was visiting here three months ago from Netherlands, and told me I had to read Pfeijffer's novel La Superba, not only was it all the rage in the author's native Netherlands, not only was it truly a good read, but it was a description, as well, of the very city we'd visited with Tom's parents only a few months ago, Genoa, "La Superba," a city we'd long wanted to become familiar with.
Well, we didn't become familiars, goes without saying; Genoa turns out to be a historical and social complexity rivalling Venice, Naples, and Palermo. Which is one of the things La Superba is "about." Pfeijffer is apparently an expatriate there, having left a small country grown too familiar and too internationalized-thus-boring to satisfy his authorial needs. You can't tell whether his novel is a novel; it's clearly part memoir; he weaves his authorial presence into and out of the book in that manner, troubling to many of us elderly readers, that erases the distinction — to me it was always a false one — between fiction and non-fiction.
(The proof of the falsity of the distinction: there's no better word for the supposed antithesis of "fiction" than "non-fiction.")
I was put off, at first, elderly and prudish as I am, by much of the language and imagery in La Superba, which opens with the narrator's discovery of a human leg and the quick attachment he develops to it — not physical, not truly fetishistic, but certainly erotic in an intellectual way. Quickly, though, the narrative reaches out into those mysterious Genovese streets and piazzas ranging up the hill behind the waterfront, and a populace, unseen by day and largely even at night by a casual tourist, is convincingly revealed, a populace of drifters, expats, barmen, transvestites, and immigrants.
The writing is very beautiful even though continuously vernacular. (I read the book in English, of course; Hutchison's translation seems to me effortless.) Pfeijffer has been compared to Calvino, and his book to Dante's Inferno; but the book made me think also of narrative cartoons. It's very visual, and would make a lovely film if handled by, say, the people who made Les triplettes de Belleville. Structurally it's broken into three big, roughly equal-size chapters, divided by two shorter interludes.
One of these is the harrowing and completely persuasive, hence plausible accounts of one refugee's escape from his native Senegal to his eventual place in Genova. The parallel with refugees from Central America coming here is inescapable to an American reader, I think.
Pfeijffer is himself — or his narrator is; hard to tell the extent to which they're identical — an immigrant, though a legal one, given the Schenken agreement within the European Union. But one of the subtexts here is: is any immigration truly "legal"? Or, perhaps, isn't all emigration legal, since ours is a wandering species, and all Europeans are ultimately descended from Africans?
Beyond the moral issue of migration, of course, or rather this side of it, there's the economic issue. How are these people to make a living? Tom, the Netherlander who recommended the book to me, is an economist by profession, specializing in entrepreneurship: he must have enjoyed this layer of La Superba. They make a living, "these people," by selling roses to diners in restaurants, or themselves to tourists of a certain sort (or to one another), or occasionally by cadging a spare coin or two. Pfeijffer befriends a couple of "these people" enough to get their stories, sharing café tables with them, ultimately becoming one of them — this is perhaps where the book becomes fiction — in his quest for the most beautiful girl in Genoa.
What you do not get, in reading this superb novel, is a sense of the locals, the Genovese, of Italians in general — they keep off these streets and piazzas. In Pfeijffer's world one's an immigrant, a tourist, or else part of the unseen normality that seems to have quite vanished.
La Superba is completely successful novel/journalism on many levels: a page-turner of a narrative, a fragrant evocation of place, a provocative query into overwhelming social and economic problems at the beginning of the 21st century, a statement of language and narrative structure perfectly at home with its antecedents (Joyce, Calvino, Swift).
The Meursault Investigation is none of those things. Its premise is fascinating: an account of the narrative central to Camus's L'Etranger from the point of view of "the Arab," told by a much younger brother of the man Camus's hero-antihero Meusault fatally shoots in his own novel. I was curious to read The Meursault Investigation, hoping it would give me some insight into the mentality of a people released from colonialism only to be hounded by a return to the authoritarianism of the ancient tradition European colonialism had worked so hard to erase.
I knew, though, that it would be useless to tackle The Meursault Investigation without having Camus fresh in mind. I'm embarrassed to admit I'd never read L'Etranger. I attempted it, sixty years ago and more, but my French was not up to it: and what I could understand, in the opening pages, was eclipsed buy the brittle brilliance of Camus's style.
But I downloaded a French-language edition of the book — its cover curiously giving the title as "L'Estranger" — and had at it, and discovered the book is so compellingly written, in such clear, limpid French, that with the useful help e-book reading offers in terms of glossing unknown words the story at least, and the profound moral and philosophical questions the story raises, were perfectly clear. Camus writes with Hemingway's pen, but Dostoevsky's soul and brain.
His book is straightforward: Meursault, a young single pied-noir (French ethnically born in France-colonized Algeria), bored with a mediocre life, falls into dubious company, allows himself out of boredom and inertia to pledge his honor to an act of revenge, kills an unnamed young Algerian who has pulled a knife on him (true enough: in an apparently unthreatening gesture), is imprisoned, tried, and sentenced.
Behind this narrative the book is "about" the equivalence of socially normal and heinous behavior given a colonialist context depending on social stratification, compounded by relentless heat, perhaps engendered by failed domestic life (the father is mysteriously absent, the mother inert), and not at all relieved by a religion whose basic assumptions are irrelevant.
Meursault's existential quandary cannot be resolved, which has led many to question the morality of Camus's book. His outlook reminds me of Wittgenstein's dictum: Of what we cannot know, of that we should not speak. But Chekhov isn't far away; you can imagine Meursault, if Russian, then Treplyov. But of course L'Etranger is French: rational, objective, phenomenological, it's well within a trajectory of literature more connected to Flaubert or Francis Ponge or the George Perec of Les Choses than it is to Dante or Dostoevsky.
Which brings me finally to The Meursault Investigation, a first novel significant for its place within post-novelistic literature and its introduction of a North African voice to its European audience. Alas, I could not get hold of a copy in French, but John Cullen's translation seems perfectly satisfactory; you can't think the prose style and the book's architecture depends on an essentially untranslatable linguistic style.
I had hoped Daoud would be using his novel to state an "Arab" view of Meursault's existential quandary, either refuting it thanks to some intellectual instrumentality foreign to the western European mentality or (perhaps more satisfyingly) reinforcing it through parallels or resonances resting on a Moslem sensibility. But this is not Daoud's intention.
Instead he focusses on the least interesting aspect of Camus's profound book: its top layer, its straightforward narrative of objectively verifiable details of plot and character. He gives us a counter-L'Etranger, told by the much younger brother of Meursault's nameless victim, resting on a similarly compromised relationship with his maman, punctuated by a similar acte gratuite whose philosophical usefulness is damaged by its undoubted political motivation.
Like L'Etranger, The Meursault Investigation is short and quickly read; unlike Camus, Daoud takes some time to hit his stride in the book. Through his narrator he admits he lacks the magical, precise evocation Camus is so famous for. (I seem to remember he blames this problem partly on the French language, native to Camus, learned, specifically in order to read L'Etranger, by Daoud's narrator.)
What is most fascinating about The Meursault Investigation is what it says about our present literary and political moment, so different from that of Camus. Daoud's book is materialistic, narrative (when it finally gets under way), filmic, and specific because bound to unchangeable injustices in the colonialistic past, where Camus's is meditative, evocative, theatrical, and — I think — universal in its implications. It's too bad, I suppose, to fault the new book for not having the older one's virtues; but the comparison is ultimately the point of The Meursault Investigation. I'm glad I read it, and I recommend it (though not without a recent reading of L'Etranger in mind); but it does not expand this reader's mind to further understanding of that of the postcolonial African. Maybe that's the point.