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2010 Reading #82: A Life on Paper by Georges-Olivier Châteaureynaud
Books 1-10.
Books 11-20.
Books 21-30.
Books 31-40.
Books 41-50.
Books 51-60.
Books 61-70.
Books 71-80.
81. The Dakota Indian Internment at Fort Snelling, 1862-1864 by Corinne L. Monjeau-Marz.
82. A Life on Paper: Selected Stories by Georges-Olivier Châteaureynaud, translated by Edward Gauvin. I had not read Châteaureynaud until Gavin and Kelly published "A City of Museums" in the Spring issue of LCRW, but when I read that story I knew I had to read this collection from Small Beer Press. Something like a mix between Kafka and Vonnegut--he even resembles Vonnegut, if his portrait on the cover can be believed--Châteaureynaud's tales are of the mundane fantastic, sometimes fable-like, but rarely so neatly boxed. Many of the stories have a faux- (or semi-) autobiographical feel, like some of Jeffrey Ford's work, but like Ford, Châteaureynaud doesn't attempt to impose a lifeless what-have-I-learned structure on encounters with the ineffable; this is poking at fictional (in every sense of that word) boundaries, then sitting back, lighting up, and watching the ripples. The stories are not neat and satisfying, but the best of them are amusing, thought-provoking, unsettling, or all three.
Books 11-20.
Books 21-30.
Books 31-40.
Books 41-50.
Books 51-60.
Books 61-70.
Books 71-80.
81. The Dakota Indian Internment at Fort Snelling, 1862-1864 by Corinne L. Monjeau-Marz.
82. A Life on Paper: Selected Stories by Georges-Olivier Châteaureynaud, translated by Edward Gauvin. I had not read Châteaureynaud until Gavin and Kelly published "A City of Museums" in the Spring issue of LCRW, but when I read that story I knew I had to read this collection from Small Beer Press. Something like a mix between Kafka and Vonnegut--he even resembles Vonnegut, if his portrait on the cover can be believed--Châteaureynaud's tales are of the mundane fantastic, sometimes fable-like, but rarely so neatly boxed. Many of the stories have a faux- (or semi-) autobiographical feel, like some of Jeffrey Ford's work, but like Ford, Châteaureynaud doesn't attempt to impose a lifeless what-have-I-learned structure on encounters with the ineffable; this is poking at fictional (in every sense of that word) boundaries, then sitting back, lighting up, and watching the ripples. The stories are not neat and satisfying, but the best of them are amusing, thought-provoking, unsettling, or all three.
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