Guibert is the consummate poet of obsession: the way it unravels the self, and gives it substance, too.
“I never imagined that my manservant might like me": So begins the late French writer Guibert's darkly humorous short novel.
The narrator is an ailing octogenarian, a man of means cushioned by his great-grandfather’s “colossal fortune.” In his youth he attempted to forge a career as a playwright, but his efforts never yielded “a true work of art.” “Maybe someday I’ll make something that will hold up if I’m able to simply describe the relationship binding me to my manservant,” he says ruefully. His first-person chronicle of their turbulent relationship, furtively scrawled in a notebook in his manservant’s absence, furnishes this book with its narrative. The manservant, Jim, is a “lazy young man,” a luckless actor who’s struggled to find success after a leading role in a serviceable film. And so he insinuates himself into a drama of Sade-an proportions. Cast opposite the narrator, he plays his role with a frightening, self-abnegating obsession to the lurid, bitter end. In their battle of wills, the manservant wields a manipulative force unlike any the narrator could’ve imagined for the inchoate characters that passed through his plays. He refuses the subservience prescribed by his title, usurping his master’s life with a slew of deranged tactics: He bullies his staff, commandeers his finances, siphons off his wealth. “My manservant wants to take care of everything himself,” says the narrator flatly. Jim’s contempt for his master grows increasingly explicit, even violent, as the novel progresses. The narrator records this humiliation with sobering lucidity: “He never looks at my emaciated body, it’s as if I don’t have one, his eyes might pass over it but they never land on anything, they slide right past, like an ectoplasm.” Yet nothing can displace their need for each other; their debasing codependency makes them appear “as if we were a single person now doubled.” It’s material well suited for a Fassbinder film. The novel was published in France in 1991, the year Guibert died of AIDS. His final years were marked by a bleak isolation akin to the one that engulfs the narrator. The narrator is, in James Schuyler’s phrase, a “victim of the other side of love.” And as his manservant reminds him, “Creatures need love, too, Sir.”
Guibert is the consummate poet of obsession: the way it unravels the self, and gives it substance, too.Pub Date: Oct. 4, 2022
ISBN: 978-1-64362-152-4
Page Count: 104
Publisher: Nightboat Books
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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