IFFP Guest Post by Jacqui Patience - 'A Meal in Winter' by Hubert Mingarelli

After last week's look at A Man in Love, it's once again time to welcome Jacqui to the blog for one of her guest reviews on this year's Independent Foreign Fiction Prize contenders.  Today's choice is a book I haven't managed to read yet, so I'm very keen to hear what she has to say - take it away, Jacqui ;) 

***** 

Hubert Mingarelli's A Meal in Winter (from Portobello Books, translated by Sam Taylor) is a slim novella, yet it punches well above its weight. The setting is the heart of the Polish countryside at the time of the Second World War. The novella opens in a military camp as three German soldiers - Bauer, Emmerich and the unnamed narrator of the narrative - appeal to their camp commander by volunteering to look for any Jews who might be hiding in the surrounding area. By so doing, the soldiers hope to avoid the more harrowing task of executing captives, as they would ‘rather do the huntings than the shootings’. The commander grants the soldiers’ request, and they leave at the crack of dawn the following morning before the first shootings begin. This means missing breakfast, too, but it’s a price they’re willing to pay to avoid their immediate supervisor, the heartless Lieutenant Graaf.

As the soldiers spend a gruelling day combing the countryside in search of a Jew (‘one of them’), the bitter chill of winter and lack of nourishment begin to take their toll:

We came down from the hill where we had smoked. Bauer whined like a dog that he should never have sat down in the snow, that he felt cold all over now. Emmerich told him to stop, though he said it lightly, not really meaning it. Bauer yelled at us that he’d decided to whine until dark. We found another road and stayed on it for a while. It was a relief not to sink into snow at every step. On the whole, we preferred the frozen potholes, even if they were dangerous.

p.32 (Portobello Books, 2013)

I was beginning to feel hungry, but I didn’t dare bring the subject up yet. None of us had dared mention it since we left that morning. My stomach ached. Sometimes, when I turned my head too quickly, I felt dizzy. It must have been the same for Emmerich and Bauer. (p 32-33)

They find a young Jewish boy cleverly concealed in a hole in the forest, only given away by the heat and snow-melt surrounding the ground-level chimney of his dug-out. Relieved at having captured a prisoner, the soldiers head back to camp. Chilled to the bone, tired and ravenous, they chance upon a deserted hovel and decide to shelter awhile. In desperate need of warmth, the soldiers build a fire and begin to prepare a simple soup from a few meagre ingredients; meanwhile their captive sits quietly in the storeroom.

A Polish man arrives at the hovel; at first his intentions are unclear, but his actions soon show his vehemently anti-Semitic nature:

The pole took a step forward, almost touching us, then looked inside the storeroom, through the half-opened doorway. Because, up to this point, the Jew, though very close, had been invisible to him. The Pole stayed there now, motionless in front of us, staring with his black eyes at the squatting Jew, who stared sadly back. After a moment, the Pole turned his gaze on us, and the distinguished handsomeness of his face vanished. He opened his mouth and bared his gums in a kind of monstrous smile, like a dead fish without teeth. (p. 94)

As preparations for the meal unfold, questions arise: should the soldiers share their meal with the Pole in return for a slug of his potato alcohol? Can he be trusted? Will tensions flare and erupt? The mood oscillates, and small shifts in the dynamics unfold across the group as each soldier starts to question his choices and the moral implications of his mission… and shadows cast by earlier events are ever-present.

This is a stealthily gripping novella with a real sense of foreboding. The small cast of five key characters, coupled with the confined setting of the hovel, give the drama a theatrical feel, and I could almost see it working as a play. I love the way it quickly whips up an atmosphere and tangible sense of place from the first page. The prose style is fairly sparse and to the point (and hats off to Sam Taylor for some sterling work on the translation). There’s not a spare word on the page, and yet it manages to pack a great deal into 135 pages.

I read this novel on a relatively mild spring evening, yet Mingarelli’s vivid depiction of the frozen landscape and biting conditions left me craving the warmth of a bowl of Ribollita, my favourite soup.  And this feeling was only heightened by the soldiers’ anticipation of their meal:

The soup looked good and smelled good. The slices of salami floated on the surface, carried there by the cornmeal, now cooked. The melted lard was still boiling.

We turned away from the stove, and the heat caressed our backs. We watched steam rise from the soup. My head was spinning. We looked at the slices of bread. The soup was continuing to simmer. The edges of the bread were toasted, reminding us of things past. (p.115)

Dare I say this is another book I’d love to see on the IFFP shortlist? While Mingarelli has written many novels and short stories, this is his first to appear in English; I sincerely hope we’ll be able to read more of his novels and short stories in years to come.

IFFP Guest Post by Jacqui Patience - 'A Man in Love' by Karl Ove Knausgaard

Of the Shadow Panelists for this year's Independent Foreign Fiction Prize, only Jacqui (@Jacquiwine) does not have her own blog, so when she asked if she could post the odd thought or two here at my place, I was happy to oblige.  Here, then, is her take on one of the favourites for this year's prize - a big book from an old friend...

*****

A Man in Love (translated by Don Bartlett) begins by pitching us straight into the action, into a bit of a ‘domestic’ in fact, as we join Karl Ove Knausgaard in the middle of a summer holiday in Tjorn, near Gothenburg. The time is July 2008, and these opening scenes paint a candid picture of the reality of Karl Ove’s family life with Linda, his second wife, and their three children (Vanya, Heidi and John). All the tensions of trying to occupy and manage the needs of their three young children are centre stage:

…so twenty minutes later we found ourselves on a high, narrow and very busy bridge, grappling with two buggies, hungry, and with only an industrial area in sight. Linda was furious, her eyes were black, we were always getting into situations like this, she hissed, no one else did, we were useless, now we should be eating, the whole family, we could have been really enjoying ourselves, instead we were out here in a gale-force wind with cars whizzing by, suffocating from exhaust fumes on this bloody bridge. Had I ever seen any other families with three children outside in situations like this?

p.5 (Harvill Secker, 2013)

It’s a compelling opening, and one that immediately captured my interest.  The book starts at this point and returns to these scenes towards the end. In between these bookends, a number of other strands run through the narrative, all of which come together to form the crux of Karl Ove’s story.

In one sense – perhaps unsurprisingly given the book’s title – this is a story of how Karl Ove falls in love with Linda. At this point the timeline flips back to the early 2000s. Having suddenly upped and left Tonje, his wife and partner of eight years, Karl Ove moves from Norway to Stockholm and reconnects with Linda, a writer he first encountered at the Biskops-Arno writers’ workshop. They meet several times for coffee, the occasional drink in a bar, and while it’s clear they are attracted to one another, they seem unable to express their real feelings in order to move beyond mere small talk. Unable to deal with this paralysis any longer, Karl Ove decides to pour out his heart in a letter to Linda:

I wrote down what she meant to me. I wrote what she had been for me when I saw her for the first time and what she was now. I wrote about her lips sliding over her teeth when she got excited. I wrote about her eyes, when they sparkled and when they opened their darkness and seemed to absorb light. I wrote about the way she walked, the little, almost mannequin-like, waggle of her backside. I wrote about her tiny Japanese features. I wrote about her laughter, which could sometimes wash over everything, how I loved her then. I wrote about the words she used most often, how I loved the way she said ‘stars’ and the way she flung around the word ‘fantastic’. I wrote that all this was what I had seen, and that I didn’t know her at all, had no idea what ran through her mind and very little about how she saw the world and the people in it, but that what I could see was enough. I knew I loved her and always would. (p.194)

I won’t reveal exactly how the couple get together, but clearly they do. Here’s Karl Ove in the glow-zone of the first flushes of love:

For the first time in my life I was completely happy. For the first time there was nothing in my life that could overshadow the happiness I felt. We were together constantly, suddenly reaching for each other at traffic lights, across a restaurant table, on buses, in parks, there were no demands or desires except for each other. I felt utterly free, but only with her, the moment we were apart I began to have yearnings. (p 201)

As time passes, however, the heightened intensity of the first flushes of love fades away. Children arrive and A Man in Love taps into Karl Ove’s search for meaning in his everyday existence:

Everyday life, with its duties and routines, was something I endured, not a thing I enjoyed, not something that was meaningful or made me happy. This had nothing to do with a lack of desire to wash floors or change nappies but rather with something more fundamental: the life around me was not meaningful. I always longed to be away from it, and always had done. So the life I led was not my own. I tried to make it mine, this was my struggle, because of course I wanted it, but I failed, the longing for something else undermined all my efforts. (p. 59-60)

In some sense, I think part of what Knausgaard is trying to do here is to find a way of navigating normality, those flat periods between the peaks of intensity that life throws his (and our) way. We experience periods of extreme emotional sharpness in our lives. Our teenage years where everything is hyper-intense, falling in love, the birth of a child, the adrenaline rush from moments of success, a death in the family. But it’s trying to find meaning and fulfilment in the everyday that presents a challenge for Karl Ove, despite the fact he clearly loves and feels great tenderness towards his family:

At the traffic lights across from us a car was revving, and when I turned my head I saw the sound was coming from one of those enormous jeep-like vehicles that had begun to fill our streets in recent years. The tenderness I felt for Vanja was so great it was almost tearing me to pieces. To counteract it, I broke into a jog. (p. 54)

For Knausgaard, perhaps the key to all this is being able to free up sufficient space and time for his work as a writer… and this topic forms another strand within the narrative. Here, an interview with a journalist causes him to reflect on his frustrations as a writer, and difficulties in being able to devote sufficient time to his calling:

I had one opportunity. I had to cut all my ties with the flattering, thoroughly corrupt world of culture in which everyone, every single little upstart, was for sale, cut all my ties with the vacuous TV and newspaper world, sit down in a room and read in earnest, not contemporary literature but literature of the highest quality, and then write as if my life depended on it. For twenty years if need be. (p. 459)

And yet the minutiae and demands of his family life are stopping him, and he lays bare his feelings for the reader to see:

But I couldn’t grasp the opportunity. I had a family and I owed it to them to be there. I had friends. And I had a weakness in my character which meant that I would say yes, yes, when I wanted to say no. no, which was so afraid of hurting others, which was so afraid of conflict and which was so afraid of not being liked that it could forgo all principles, all dreams, all opportunities, everything that smacked of truth, to prevent this happening. (p. 459-460)

This is my first experience of Knausgaard and I found it utterly compelling and addictive. I’m reading this year’s IFFP longlist (along with Stu, Tony, Bellezza, Tony and David) and as I didn’t have time to start with A Death in the Family – My Struggle: Book 1, I pitched straight in with A Man in Love.

I’m finding it a little hard to pinpoint exactly why I found this book so gripping, but I think a large part of it has to do with the sense that these are real people Knausgaard is showing us here. Real people with real names and real lives, that’s how it appears to me. And he’s laying himself and his emotions bare with extreme candour. Nothing is held back, flaws and all. Even though he internalises many of his own emotions and avoids conflict in social situations, we, the readers, gain access to his innermost thoughts right down to their essence.

Maybe there’s also an element of my recognising many of the demands and challenges he describes in raising three small children all very close to one another in age. I’ve seen the exhaustion and mix of emotions this can trigger in friends and family in similar situations and can empathise.

Part of the appeal (for me) also stems from the way in which the narrative unfolds. It doesn’t follow a conventional narrative arc and as a reader there’s the allure of not knowing quite where Karl Ove is going to take us next. Alongside the story of Karl Ove and Linda’s family life, children’s parties and wandering around Stockholm with a buggy, he spins off into topics including existential discussions on the meaning of Hölderlin’s poems, the value in innocence and purity, cultural differences between Sweden and Norway and many more. We meet various friends and family members, all vividly painted in such a way that conveys their distinct personalities and demeanours.  There are flashes of painful humour, too; the acute embarrassment and humiliation Karl Ove feels when dancing with Vanya at baby Rhythm Time class, his irritation at Swedish middle-class parents for plying children with wholesome vegetable crudités at a toddler’s party and his encounters with the neighbour from hell. It’s all here.

This is my fifth book from the IFFP longlist and while I’ve yet to read the other ten I’d be surprised if A Man in Love doesn’t make the shortlist.  Once I’ve worked through the remaining books on the longlist I’m sure I’ll read A Death in Family along with forthcoming instalments as they appear… I suspect I’m in for the long haul now.