Hopscotch

There are at least three different ways to read Julio Cortazar's Hopscotch; the first is to read the first fifty-six chapters in sequence (until one reaches a line of stars signifying "everything after this can be ignored" at the end of Chapter 56). Doing so will give the reader a frustrating, choppy, occasionally dense, tedious, and unengaging experience. Unfortunately, following the author's instructions (laid out conveniently in a "Table of Instructions" before the rest of the text begins) results in the same experience, only longer. While the additional chapters do help to fill out some events that may be unclear upon a "normal" reading, (such as making the narrative a little more linear, as with Pola), or flesh out a backstory (Morelli/the old man), or add color with excerpts from referenced works/relevant passages/letters, the novel still has the same problems as with a linear reading -- that the happenings seem pointless. Producing a boring novel about expatriate bohemians in Paris is one thing, but a boring novel that the back cover blurb pitches as "the dazzling, free-wheeling account of [protagonist's] astonishing adventures" seems to be a little more difficult. (Not that I am opposed to the selection of flattering back cover blurbs. Far from it.) It's not the flouting of conventional narrative structure that bothers me about this novel -- it's that all the flouting of conventional narrative structure feels so pointless. While the pace picks up a little when the action returns to Argentina, it's not nearly enough to save this.

The Counterfeiters

I was brought to Andre Gide’s The Counterfeiters by Roberto Bolaño’s The Savage Detectives (at least that’s how I remember it – will have to double check). Upon doing so, I realize I was likely led to Gide through a NY Times review of Bolaño’s novel.

The Counterfeiters is an intricate, layered novel of many intertwined and interrelated characters, which never fully starts or stops. It focuses on Edouard, a thirty eight year old novelist, who, while critically acclaimed, has not had the literary success of some of his fellows. As the novel progresses, it becomes clear that Edouard is a stand-in for the author himself, as he observes the scandals of his young friends and relations. Although he's involved, he's more of a benevolent overseer than an active participant.

The point of view is interesting – while it’s third person omniscient, it is so in an unconventional way, as events are related from a limited point of view, and then switching to limited from the viewpoint of another character. Events and new characters are often introduced obliquely.

Perhaps the biggest criticism that can be made of the work is that Gide lays out so much of his philosophy of art in the speech of the characters -- Edouard has long discussions and journal entries on the novel he is planning on writing (also called The Counterfeiters) which mirror Gide's journal, which is included at the end of this translation of the novel. This is another sticking point -- Gide seems like he could have lifted nearly all of Edouard's journal from his own journal. Should an author have such a transparent avatar?

Midway through, it's revealed that Edouard is working on his next novel -- also titled "The Coutnerfeiters", and dealing with the same themes as the novel we're reading. This is what allows Gide to insert so much of his thoughts on art and literature into the novel, since Edouard is working at the same business Gide is -- creation. It's not quite ham-handed, but it's not exactly subtle, either.

The Counterfeiters ends the way Edouard had been planning on ending his novel -- abruptly, in midstream, leaving itself open for a sequel, but not demanding one. It's a worthwhile novel, and an interesting exercise in metafiction. I won't be re-reading it anytime soon, but I'm glad that I finished it.