I^^^^^^^^^MMHH r/701/ orScotland, PA.Themajor plot points ofFlix's version oftheancient Germaniclegendare identicalto Goethe's: a dissatisfied student, a bet between God and theDevil,a love interest, a jailbreak, a poodle, andan angry brother. Flixdoes takesome liberty with theendofthestory and refuses tofollow Goetheintosome of themoreluridand depressing parts ofthelatter's Faust . Attimes, Flix'sstrict adherence to Goethe's plotforces thestory to perform somenarrative gymnastics, buthe pullsthese off - forthemost part- without thereadernoticing, whileat thesame timetaking on someofthe more thorny issues facing contemporary Germany. Questions abouttheintegration ofGermany's sizablepopulations ofbothTurkish migrants and Germans of Turkish heritage arethematically central. The almost-too-lighthearted ending andnarrative style ultimately allowthestory toavoiddealing with themore serious aspects oftheproblemsitpokesfunat .Flixis a masterat sidestepping whenthestory threatens tobecome tooserious. This is,given thescopeandnature ofthe work, a goodchoiceoverall butcan beunsatisfying attimes. The graphicnovel's cartoonish styleand distinctive lettering seemmore appropriate toFaust than manyofFlix'smoreseriousworks. He also has a firmgraspon the structural grammar ofcomics.His panelsarelaidoutconsistently but notboringly, and he has no problemadjusting their geometry when theplotneedsit,lending thestory an effective but notshowyvisual aesthetic. Faust isa good,quickread.Itis a solidmember ofthe everincreasing genre ofmodern adaptations ofclassics , andFlix's humor andstyle do a goodjobofelevating itabovemost of itspeers. Although thelackofgravitasis occasionally noticeable in the book,Flix'squirky senseofhumor ultimately carries Faustthrough the rarepatches whenthestory threatenstobecome superficial. ChrisDearner University ofOklahoma Michel Houellebecq. La carte et le territoire.Paris.Flammarion.2010. 428 pages. €22. isbn 978-2-0812-4633-1 AsMichel Houellebecq novels go,La carteetle territoire is notparticularly provocative orcontroversial. Textual evidencesuggesting incorrigible misogynism, scathing Islamophobia, orprofound self-loathing is hardto find - unlessinserting himself into thenarrative as a character who is brutally murdered canbe regarded as symptomatic of Houellebecq's self-hatred. Recurring themes from hisearliernovelsreappearin thiswork. Place has overriding significance, whether itsubsumes themoral degradation ofFrance, thesex tourism industry inThailand, orthegeneticallyaltered clonessetina futuristic Spanishwasteland. Thebook'stitle refers to thechancediscovery by JedMartin, an avant-garde artist, of thepictorial beautyofMichelin roadmaps.Theplacesthey illustrate exude "thepalpitation and calling ofdozensofhuman lives, dozensor hundreds ofsouls, somedestined for damnation, others toaneternal life." Charlatanism, hypocrisy, kitsch, and crassconsumerism arestapletargets ofHouellebecq. He observes how"a Casinohypermarket or a Shellservicestation remain thesolecenters ofpalpableenergy, theonlysocietal offerings abletoinspire desire, happiness , joy." ^^^^^m^^^mamÊÊÊm^^ammÊÊ^^mÊm^mÊÊ^m^^m ■ Inspired bythebeauty ofbanal things, Jedfinishes a canvas that creatively reproducesa Michelin map.Itquickly earnshimthevigorous backingof the Frenchtire company, whichlaunches themarketingslogan :"The map is more interesting thantheterritory." His celebritystatus is consolidated witha seriesof portraits of people in endangered, simpleprofessions ,likecaféowneror tobacconist .Prostitute is notone ofthese, as demonstrated byJed'sonetime girlfriend Geneviève, whoearnsup totenthousand eurosa month as a part-time callgirl. Jedfeels likean imposter as he stumbles from oneartistic success to another. He is averseto,evencynicalabout , celebrity status - exemplified bythesatirical title ofa portrait he cannotfinishcalled "Damien Hirstand Jeff Koons divide the artmarket forthemselves." While mocking suchpop culture icons, he issavvy enough toaskHouellebecq, quacharacter inthisnovel,towrite fortheexhibition catalog.Thetwo bondin their sharedstruggle with artistic pressures. Theauthor's intrusion intothe storyoffers none of the literary pretensions ofDiderotinJacques le fatalisteet son maître.Houellebecq doesnotoffer parodiecommentary on himself or on his craft, noran exposition of alternative perspectiveson thestory beingtold.His intent is not to proselytize about the expandedpossibilities of the contemporary novel.Houellebecqthe -character is unassuming, possesses integrity, and servesas an idealtypeofthecreative writer in contemporary society.That he is très sympa putsthecharacter inconflict withHouellebecq-the-author's publicpersona. La carteetle territoire announces a mellowerHouellebecq,positioninghimselfto receiveestablished literary prizes ratherthan subpoenas for court appearances . That he revelsin his role as France'sGrandInquisitor remains indisputable. Raymond Taras MalmöUniversity Nicole Krauss.Great House. New York. W.W.Norton.2010. 289 pages. $24.95. ISBN 978-0-393-07998-2 Establishing convincing narrative voicein a novelis a difficult task, onethat NicoleKrauss, inherprevious book, TheHistoryofLove,conqueredwithbravado .Partof her achievement inthat puzzleofa book 621WorldLiterature Today ...
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