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In Dice 1 Documento 18 páginas. Atagualpa Yupanqui Documento 13 páginas. Rafaél Pombo Documento 13 páginas. Thomas Mann and his children wave a significant shadow over these proceedings.

There are links between Rimbaud's amputation and Edward Said's piano playing -- if you look for them. Despite such erudite architecture, this is also a novel of opium, wine and unfortunately beheadings.

Etymology, poetry and emancipatory politics make for cumbersome bedmates but the reader can only benefit from such congestion. Matters did appear to lose momentum but I felt it to be tremendously moving throughout.

Compass takes place over the course of one, long night during which Franz Ritter, a Viennese musicologist, suffers from a terrible bout of insomnia. The symptoms from his recently diagnosed illness, the memories of an unrequited love, and the dissatisfaction at his mediocre academic career all contribute to his sleepless night.

Instead of chapters, Énard uses time stamps to denote the hours that are slowly ticking away as Franz runs through years of memories. Sarah, a French Academic with whom Franz has spent many years in love, sends him an article she has written from Sarawak, in Malaysia, which is her current place of residence.

It is unclear at the beginning what Franz and Sarah mean or have meant to each other, but Franz slowly unravels their complicated history throughout the course of his sleepless night.

As an academic musicologist, Franz has had a deep interest in the music of the Middle East, which studies have brought him into close contact with many orientalists, including Sarah.

Compass is a travelogue, an historical essay, a literary catalog and a music lesson on the Orient. Franz takes us on his travels from Istanbul, to Palmyra, to Damascus, to Aleppo and to Tehran as he explores eastern music and his growing, emotional attachment to Sarah.

The Orient becomes just as beautiful, enchanting and elusive as his love for Sarah. When Franz and Sarah are suddenly forced to end their travels together in Tehran, Franz nurses his wounds by going back home and retreating into himself and his academic career.

Sarah consoles herself by wandering father east where she ends up spending quite a bit of time in a Buddhist monastery. The faded photographs and yellowing Orientalist engravings.

The poetic works of Pessoa on a sculpted wooden book stand meant to house the Koran. My tarboosh from Istanbul, my heavy wood indoor coat from the souk in Damascus, my lute from Aleppo bought with Nadim. The disjointed and rambling narrative structure is fitting for a man whose mind cannot rest over the course of a sleepless night.

He jumps from one topic to the next: his illness, musicology, literature, archaeology and, of course, Sarah. One common thread that runs through his thoughts are the connections between East and West. He has a joke compass that points east which is fitting for Franz since his thoughts are always pulled in that direction.

He discusses travelers, writers, musicians, academics and archaeologists who were fascinated by Orientalist travels and study.

One of my favorite examples Franz brings up is the Swiss author, journalist, traveler, and even occasional archaeologists, Annmarie Schwarzenbach whose wanderlust brings her to different parts of the East. The Baron Hotel that Franz and Sarah stay at in Aleppo, and probably the entire neighborhood, has been reduced to a pile of rubble.

The descriptions of his travels in Palmyra were particularly striking to me. The amount of research that must have gone into the writing of this erudite book is astonishing.

Descriptions of Pessoa, Magris, Schwarzenbach and Hedayat to name a few, have caused me to add all of these authors to my always-growing library. Some of the writers Enard mentions are so esoteric that I was disappointed not to find them in English translation—the surrealist French poet Germain Nouveau, for example.

It is truly a great thing when one piece of literature gives one such a full list of further reading. Philippe Malzieu. Author 2 books followers. I remembered the beginning of Salammbô. I was already in love with Salammbô. I did not want to read this book.

It belongs to the short list for the Goncourt Prize then which the best french book Laurent Binet has been eliminated. And I read the beginning of this novel in the bookseller. There is a brilliant text on Sadegh Hedayat.

Enard compares him to Kafka and it is well seen. So I decided to read it. An austrian musicolog have a love affair with Sarah, brilliant young university researcher. The book became a kind of treasure hunt between them with different stop from Vienna to Viet Nam.

But too much erudition, too much references. It is a debeauche of exotics word and tones. It is too much.

there is even photos. Photos in literature book have only a goal, prevent the author to write description like Breton in Nadja. Here, they have no utility. I have the impression that the author had collected all the cultural references on orient and had built his book around them.

We are far from the conciseness of Flaubert. The novel becomes boring even if sarah does not miss charm.

Sunkaus darbo reikalaujanti knyga. Skaičiau ilgai, vietomis patiko labai, vietomis, jaučiu, praskrido over the head. Gal taip ir turi būti. Ir tik baigdama suvokiau, kad čia akademinis romanas - ne Stouneris, ne Secret History, ne Davidas Lodge'as, ne parodija ar linksmybės - bet vis tiek tai, kas duoda bendrą struktūrą, bendrą rėmą, yra akademija ir mokslinis tyrimas.

Neišbaigtas, laisvos struktūros gal maždaug tai, kas dabar vadinama meniniu tyrimu? Bet sykiu ir poetiškas, lyrinis, ir tai jį ištraukia - bent man ištraukė. Teksto struktūra panaši į "Petro imperatorės" ir sykiu tikresnė : pasakotojas naktį nemiega, merdi, jam į galvą plūsta visokiausi atsiminimai, istorijos, kliedesiai ir fantazijos.

Pasakotojas - jaunas austras muzikologas, nelaimingai įsimylėjęs Rytų tyrinėtoją Sarą ir su ja keliskart keliavęs po Rytus, senovinius griuvėsius ir miestus, aptarinėjęs ir aiškinęsis orientalizmą, skaitęs Rytų poeziją, susirašinėjęs, ieškojęs Rytų atšvaitų Vakarų kultūroj ir visą laiką rasdavęs tai, kuo įsitikinęs, - kad Rytų ir Vakarų perskyra yra dirbtinė ir schematiška, kad Rytai nėra kažkas kita, nepažinu, kad jie visada jau yra paveikę Vakarus - jų architektūra jau perimta, jų poezija jau paveikusi gausybę rašytojų ir tt.

Lyriška, bet gražu - kai jis kalba, kad, pvz, Islamo valstybės ar kitų radikalų kraujo karai ir egzekucijos rytiečiui yra tokie pat baisūs, atgrasūs ir nesuvokiami kaip vakariečiui.

Vyrišką giminę palieku sąmoningai, nes nors knyga persunkta progresyvumo, žingsnių anapus dirbtinių skirčių ir barjerų - taip pat ir lyčių, tas ribų perženginėjimas atrodo labai akademinis, pavargęs, kaip ir ta ilga merdėjimo naktis.

Labai patiko: 1. Visas jauno žmogaus nuovargis, silpnumas ir to sąsaja su akademiniu buvimu - gal net ne tiek univeru, kiek apskritai darbo ir žiūrėjimo į gyvenimą būdu. Kai tu renki renki renki info, daug jos atsimeni, ji tarpusavyje nebūtinai rišasi - rišasi nebent per asociacijas ar minčių šuolius.

Atsimenu, Andriuškevičius rašė: aš esu konsteliacija tekstų, kurie niekaip kitaip nesiriša, kaip tik mano galvoje. Tai "Kompasas" yra tobula iliustracija, žvilgsnis į žmogaus protą - net nebūtinai akademiko, bet gal labiausiai akademiko, nes būtent tokiam prote - įsivaizduoju - daugiausiai koliažo, paskirų vaizdinių o ne dinamikos ar veiksmų grandinių.

Taip pat ir šiaip akademikų ir akademikių aprašymai: Sara jautėsi labai laiminga atsidūrusi tarp visų tų orientalistų ir juos stebėdama: kartais atrodydavo, kad ji aprašinėja zoologijos sodą, žmones narvuose, kurių daugelis pasiduodavo paranojai, prarasdavo sveiką protą ir išsiugdydavo nuostabią neapykantą vieni kitiems, beprotybę, įvairiausias patologijas, odos ligas, mistinius kliedesius, obsesijas, mokslines blokuotes, verčiančias juos dirbti ir dirbti, valandų valandas trinti alkūnėmis rašomuosius stalus nieko nesukuriant, nieko, išskyrus smegenų garą, išsprūstantį pro to garbingo instituto langus ir ištirpstantį Damasko ore.

Kai kurie uoliai lankydavosi bibliotekoje naktimis; vaikščiodavo tarp lentynų kiauras valandas, tikėdamiesi, kad spausdinta medžiaga galiausiai ims tekėti, prisodrins juos mokslu ir baigdavo paieškas paryčiais, viskuo nusivylę, susmukę kur kampe, kol juos papurtydavo į darbą atėję bibliotekininkai.

Gražiausias ir sykiu turbūt tipiškiausias sakinys, kur užtenka perskaityt ir žinai, ar norėsi visą knygą skaityti, ar užknis dėčiau tokius ant ketvirto viršelio : Laikas atsiėmė savo teises į "Sissi House"; "Barono" viešbutis dar laikosi, užvertos jo langinės miega kietu miegu laukdamos, kada gi "Islamo valstybės" galvažudžiai įkurs ten savo generalinį štabą, pavers jį kalėjimu, seifu arba galiausiai susprogdins: susprogdins mano gėdą ir negęstantį jos prisiminimą drauge su šitiekos keliautojų atmintimi, dulkės užklos Anemari, T.

Lorensą, Agatą Kristi, Saros kambarį, didelį koridorių geometrinių motyvų plytelės, sienos nulakuotos kremine spalva ; aukštos lubos užgrius laiptų aikštelę, kur stovėjo dvi didelės kedro skrynios, nostalgijos karstai su memorialinėmis plokštėmis: "London - Baghdad in 8 days by Simplon Orient Express and Taurus express", nuolaužos praris monumentalius laiptus, kuriais kopiau, pagautas staigaus impulso, praėjus ketvirčiui valandos po to, kai Sara apie vidurnaktį nusprendė eiti gulti: vėl regiu save beldžiant į jos duris, dvivėres medines duris pageltusiais dažais, krumpliai - prie trijų metalinių skaičių, aš pilnas baimės, ryžto, vilties ir apakimo, suspausta krūtine, kaip žmogus, puolęs veikti, trokštantis rasti lovoje būtybę, kurią jis jautė po antklode Palmyroje, ir pratęsti tai, kas buvo, įsikibti, panirt į užmarštį, į pojūčių pasotinimą, kad švelnumas nuvytų melancholiją, kad godus kito tyrinėjimas pralaužtų tavo paties tvirtovės pylimus.

Visa poezija nuostabiai išversta Vlado Braziūno ir Lanio Breilio. Čia Pessoa seka Chajamu: Sako, kad Chajamo kapą puošia Nišapūro svaigiai kvapnios rožės. Bet kape nėr gerojo Chajamo: Jis čionai, ir jis - tai mūsų rožės. Įsidėjau į to-read sąrašą - Annemarie Schwarzenbach.

Turbūt niekada ir neperskaitysiu, neatrodo, kad versta į anglų, bet, kaip ir daugybė dalykų "Kompase", paliko tą įspūdį - norėčiau daugiau apie juos sužinoti, nepamiršti, nors turbūt jau ir pamiršau net nebaigus knygos.

Nepatiko: 1. Praktiškai viskas tas pats, kas ir patiko. MUILO OPEROS A. ŠEKSPYRO PABAIGA, KUR PAAIŠKĖJA, KAD JI VISADA JĮ MYLĖJO, TIK NEDRĮSO PASAKYTI, BET DABAR JAU DRĮSTA IR PLANUOJA ATVAŽIUOTI, O JIS JAU MIRŠTA, LOL. Laura V. Che cosa racconta? E si scoprono cose curiose e interessanti.

Non sapevo, per esempio, che Flaubert avesse tenuto un diario egiziano né che Goethe si fosse dilettato a scrivere esercizi di lingua araba.

Considerati gli specifici riferimenti geografici, letterari e linguistici ad arabo e persiano, purtroppo non si tratta di una lettura per tutti, semmai per appassionati del settore, altrimenti essa rischia di annoiare o, peggio, di non essere capita.

E a me, indegna appassionata di questioni orientali, che cosa ha lasciato questo libro? Moltissimo, più di quanto potessi immaginare. Uno strazio profondo al pensiero di ciò che il Paese è diventato dopo ormai sei anni di guerra: un cumulo insanguinato di macerie e morte, perenne monumento alla stupidità e crudeltà umane.

Chris Via. ماتياس إينار رواية عظيمة، دسمة، اختلط فيها الشرق مع الغرب لينتج نص روائي متين ساحر، يمشي الكاتب فيها على نسق من الغرابة المحببة لنفس كل قاريء، ولم تخل رواياته من كلام مطول عن الشرق ونصوصه البديعة، ولا سيما كلامه عن بومة هدايت العمياء، فقد قدم لها إينار تصور مذهل يشجع المرء على إعادة قراءتها.

بين عواصم أوروبا وعواصم الشام وإيران، ينتقل الكاتب بانسيابية يُحسد عليها، مستعيدا ذكريات وأحداث ناسجا منها حكاياته لتكون في النهاية نص عظيم.

الرواية ممتازة، متماسكة محبوكة، فيها من الخيال والحقيقة ما يعطيها قوة هائلة، وتُقرأ مرات ومرات بدون ملل أو ثقل، وخاصة لمحبي المزج بين الشرق والغرب في الكتابة. Gumble's Yard - Golden Reviewer. it focuses on ambitious, imaginative and innovative writing, both in translation and in the English language.

Their novels are my words distinctively and beautifully styled, with plain, deep blue covers and a "French-flap" style And that serves as something of an introduction to this novel distinctive, at times beautiful styled, but also very French - a winner of the Prix Goncourt, the most prestigious French literary prize - but perhaps a novel less designed obviously appealing to non-French speaking literary tastes it was shortlisted for but did not win the Man Booker International Prize.

Ostensibly the set-up of this novel is that it is set over a single night of insomnia, as Franz Ritter an Austrian Musicologist, suffering from an unnamed, but he believes, serious illness thinks back on his various travels and researches in the Middle East and in particular his at least on his side obsessive relationship with a French academic, Sarah.

In practice this book is more of a Sebald-esque meditation on the Middle East particularly Syria, Iran and Turkey , on Orientalism, and the relationships and interactions of Westerners archaeologists, writers, musicians, academics with that area over the last few centuries.

these words — Orient, Occidental - have no more heuristic value than the unreachable directions they designate. At times also the book turns effectively into a non-fictional book or perhaps more of some form of cultural essay or doctoral thesis — and, it has to be said, a poorly organised and at times tedious one.

On a second read - I realised that this is a book to be dipped into, to lose oneself in one of Franz's digressions for 15 minutes just before sleeping makes a wonderful digression but trying to read it conventionally and serially is challenging despite its conceit of it taking place over a single night.

Perhaps in this way the novel mirrors a night of insomnia and fever, drifting between chains of association. Sarah talked to me about her thesis ……. Bring to light the rhizomes of that common construction of modernity.

Whereas history could be read in an entirely different way, she said, written in an entirely different way, in sharing and continuity.

She spoke at length on the postcolonial holy trinity — Said, Bhabha, Spivak; on the question of imperialism, of difference, of the 21st-century, when, facing violence, we needed more than ever to rid ourselves of the absolute otherness of Islam and to admit not only the terrifying violence of colonialism but also all that Europe owed to the Orient — the impossibility of separating from each other, the necessity of changing our perspective.

We had to find, she said, beyond the stupid repentance of some or the colonial nostalgia of others, a new vision that includes the other or the self. On both sides.

Overall a flawed novel but an important and, if approached in the correct way, ultimately enjoyable one. Franz, il protagonista e unico personaggio in scena, va a dormire e per pagine seguiamo la sua notte insonne.

Gruper e cane. Una tisana nel corso della notte. Questo in apparenza. In realtà seguendo i pensieri insonni di Franz si apre un racconto multistrato con un reticolo di storie e personaggi.

Franz ha un qualche tipo di malattia, forse mortalmente grave, forse no, forse immaginaria. Il rapporto con il suo medico, dott. Kraus, è dialettico.

Scoprire gli esiti di questa malattia è un elemento di suspence che ti invoglia a proseguire. Franz è tendenzialmente malinconico, con un pizzico di ironia. Franz scandisce il tempo del libro, la sua notte ed il titolo dei capitoli va dalle 11 di sera alle 7 di mattina, ed il tempo dei ricordi, spalmati in un arco di oltre 20 anni.

Il tempo, il suo scorrere, è uno degli strati del libro. La affascinante Sarah, studiosa di storia orientale, è il suo amore della vita, poco corrisposto.

Capire se questo amore si realizzerà è un altro elemento di suspence. Sì, è anche una storia di amore. Fuori dai canoni. E questo è uno degli strati del libro, il mondo di questi cultori della materia, tra cui, inaspettatamente, anche alcuni italiani.

E noi con loro. Un altro strato del libro: il racconto di viaggio. Questo strato, tutte queste storie, costituiscono una parte fondamentale del del libro.

Che ci porta agli ultimi due strati: uno personale e uno politico. Mantenendo sempre viva la speranza, perchè il sole sorge sempre, a Est. Delacroix, Donne di Algeri nei loro appartamenti, Annemarie Schwarzenbach "Sarah Франц Ритер, интровертни, анксиозни музиколог из Беча, током једне бесане ноћи присећаће се свог пређашњег живота, својих професионалних путовања и дужих боравака по Оријенту, пре свега Сирији и Ирану.

Древне рушевине Палмире, бучни сукови Алепа и убрзани живот велеграда какав је Техеран, све је то овде живо и готово опипљиво.

Испреплетано, у мисли ће му долазити и прелепа Сара, врхунски познавалац Оријента, његова честа професионална сапутница, али и дугогодишња емотивна чежња. На свакој страници види се изузетна ерудиција аутора; он са лакоћом прелази из епохе у епоху, мења углове посматрања, описује револуције, скицира друштвена таласања и открива читав један нови свет, маестрално и живо приповедајући.

Матијас Енар овом књигом одаје огромну почаст оријенталној култури, показујући њену недељивост и неодвојивост од онога што се сматра западним културним вредностима. Изузетно ми прија како Енар пише и подстиче на даље истраживање. Ово је заиста једно ремек-дело и радујем се даљем откривању Енарових дела.

I made a start on this book several months ago when it was long listed for the Man Booker International prize. I gave up after a third of the book because I felt like I was being tortured by being force-fed Wikipedia articles. There are two quotes from The Guardian that, I think, sum up my sentiments: Fascinating though the facts often are, the scores of pages of this kind of thing are mainly rendered in detailed precis: there is very little direct speech in the novel, which helps to evoke the febrile meanderings of insomniac memory but it also threatens to send the reader, if not Franz, off to merciful sleep.

As the dawn does for our sleepless hero, this comes as a relief to the reader, who emerges from this strangely powerful work as from a feverish dream.

I think one thing that helped me get to the end this time was the fact that I recently read Home Fire and Exit West from the main Man Booker long list. Compass is a sort of meditation on the interaction between East and West and it often gave me cause to think back over those two books.

This quote also highlights one of the problems I had with this book: the sentences are simply too long this is a relatively short example and I found it even though I have read all of Pynchon!

rather mind-numbing. That said, I think the mind-numbing is partly deliberate. The book is the rambling thoughts of Franz Ritter through a sleepless night. He is wrestling with his thwarted love for Sarah and remembering the times they have spent together. Both of them, in different fields, are fascinated by the interaction of East and West, so his thinking about Sarah feeds his thinking about Orientalism and vice versa.

Unfortunately, I ended up in the place the narrator finds himself when considering a colleague …he would pace up and down the corridors thinking out loud in a low voice, for hours, kilometres of corridors travelled, and this monody, as knowledgeable as it was unintelligible, got on my nerves terribly.

Last time I read this I abandoned it and gave it 1 star. This time, I have completed it and I am upping my rating because I can recognise the literary merit of the book. But I cannot claim to have enjoyed it, despite the odd flash of humour.

So, 2 stars is as far as I can go. Warren Fournier. Unfortunately, I must call a foul on this one. This otherwise ingenious book was ruined by it's own attempts to impress.

In this review, I shall demonstrate why it is perfectly okay to not drool all over Mathias Énard's "Boussole," aka "Compass. Unfortunately, I don't think I can recall a more blatant example of how the industry of contemporary literature and art pulls the wool over the eyes of otherwise intelligent audiences hungry for cerebral stimulation.

First, let's take a look at the author's entry in Wikipedia, shall we? Oh my So many awards. So much recognition. He must be important. This is the guy to tell a story! But beyond the list of pats on the back, Wikipedia offers little other information.

Now, we all have heard the criticisms concerning Wikipedia, and considering the forum tends to be a "catch-all" kind of advertisement, the first item in a search when someone Google's the name of an artist, the people who wrote Énard's article knew what they were doing.

It says hardly anything about the man himself or the kind of work he does. It doesn't say anything about the themes of his writings. There are no individual articles about his books.

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Características del producto. Características principales Título del libro. Otras características Género del libro. Descripción Tapa Rustica Dimensiones 14 x 21 cm Paginas Dios es un Padre.

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Mi cuenta Ingresá Vender. Il rapporto con il suo medico, dott. Kraus, è dialettico. Scoprire gli esiti di questa malattia è un elemento di suspence che ti invoglia a proseguire.

Franz è tendenzialmente malinconico, con un pizzico di ironia. Franz scandisce il tempo del libro, la sua notte ed il titolo dei capitoli va dalle 11 di sera alle 7 di mattina, ed il tempo dei ricordi, spalmati in un arco di oltre 20 anni.

Il tempo, il suo scorrere, è uno degli strati del libro. La affascinante Sarah, studiosa di storia orientale, è il suo amore della vita, poco corrisposto. Capire se questo amore si realizzerà è un altro elemento di suspence.

Sì, è anche una storia di amore. Fuori dai canoni. E questo è uno degli strati del libro, il mondo di questi cultori della materia, tra cui, inaspettatamente, anche alcuni italiani.

E noi con loro. Un altro strato del libro: il racconto di viaggio. Questo strato, tutte queste storie, costituiscono una parte fondamentale del del libro. Che ci porta agli ultimi due strati: uno personale e uno politico. Mantenendo sempre viva la speranza, perchè il sole sorge sempre, a Est. Delacroix, Donne di Algeri nei loro appartamenti, Annemarie Schwarzenbach "Sarah Франц Ритер, интровертни, анксиозни музиколог из Беча, током једне бесане ноћи присећаће се свог пређашњег живота, својих професионалних путовања и дужих боравака по Оријенту, пре свега Сирији и Ирану.

Древне рушевине Палмире, бучни сукови Алепа и убрзани живот велеграда какав је Техеран, све је то овде живо и готово опипљиво. Испреплетано, у мисли ће му долазити и прелепа Сара, врхунски познавалац Оријента, његова честа професионална сапутница, али и дугогодишња емотивна чежња.

На свакој страници види се изузетна ерудиција аутора; он са лакоћом прелази из епохе у епоху, мења углове посматрања, описује револуције, скицира друштвена таласања и открива читав један нови свет, маестрално и живо приповедајући.

Матијас Енар овом књигом одаје огромну почаст оријенталној култури, показујући њену недељивост и неодвојивост од онога што се сматра западним културним вредностима. Изузетно ми прија како Енар пише и подстиче на даље истраживање. Ово је заиста једно ремек-дело и радујем се даљем откривању Енарових дела.

I made a start on this book several months ago when it was long listed for the Man Booker International prize. I gave up after a third of the book because I felt like I was being tortured by being force-fed Wikipedia articles.

There are two quotes from The Guardian that, I think, sum up my sentiments: Fascinating though the facts often are, the scores of pages of this kind of thing are mainly rendered in detailed precis: there is very little direct speech in the novel, which helps to evoke the febrile meanderings of insomniac memory but it also threatens to send the reader, if not Franz, off to merciful sleep.

As the dawn does for our sleepless hero, this comes as a relief to the reader, who emerges from this strangely powerful work as from a feverish dream. I think one thing that helped me get to the end this time was the fact that I recently read Home Fire and Exit West from the main Man Booker long list.

Compass is a sort of meditation on the interaction between East and West and it often gave me cause to think back over those two books. This quote also highlights one of the problems I had with this book: the sentences are simply too long this is a relatively short example and I found it even though I have read all of Pynchon!

rather mind-numbing. That said, I think the mind-numbing is partly deliberate. The book is the rambling thoughts of Franz Ritter through a sleepless night. He is wrestling with his thwarted love for Sarah and remembering the times they have spent together.

Both of them, in different fields, are fascinated by the interaction of East and West, so his thinking about Sarah feeds his thinking about Orientalism and vice versa.

Unfortunately, I ended up in the place the narrator finds himself when considering a colleague …he would pace up and down the corridors thinking out loud in a low voice, for hours, kilometres of corridors travelled, and this monody, as knowledgeable as it was unintelligible, got on my nerves terribly.

Last time I read this I abandoned it and gave it 1 star. This time, I have completed it and I am upping my rating because I can recognise the literary merit of the book. But I cannot claim to have enjoyed it, despite the odd flash of humour. So, 2 stars is as far as I can go. Warren Fournier. Unfortunately, I must call a foul on this one.

This otherwise ingenious book was ruined by it's own attempts to impress. In this review, I shall demonstrate why it is perfectly okay to not drool all over Mathias Énard's "Boussole," aka "Compass.

Unfortunately, I don't think I can recall a more blatant example of how the industry of contemporary literature and art pulls the wool over the eyes of otherwise intelligent audiences hungry for cerebral stimulation.

First, let's take a look at the author's entry in Wikipedia, shall we? Oh my So many awards. So much recognition. He must be important. This is the guy to tell a story! But beyond the list of pats on the back, Wikipedia offers little other information.

Now, we all have heard the criticisms concerning Wikipedia, and considering the forum tends to be a "catch-all" kind of advertisement, the first item in a search when someone Google's the name of an artist, the people who wrote Énard's article knew what they were doing.

It says hardly anything about the man himself or the kind of work he does. It doesn't say anything about the themes of his writings.

There are no individual articles about his books. But you can certainly see where the priorities are. His recognitions begin after the second sentence of the opening paragraph in his bio. Then, as if that were not eye-catching enough, the whole next section is entitled "Awards and Honours," before they even get to his list of works.

Looking further down the search engine, you don't receive much more enlightenment from other sites, reviews, bios, or reportage. He's not a man--he's a PRIZE! And word got out. Look at all the gushing reviews that mention "Short listed for Man Booker! Winner of the Prix Goncourt!

I am suggesting that this author is in the right circles and echo-chambers, and these recognitions are big business for him and clearly preinform the reader's expectations of a quality literary experience. It certainly did for me.

But let's stop speculating and look at the contents of the novel itself. The basic premise is that a man named Franz is lying in bed suffering from insomnia during an unnamed illness it's opioid withdrawal and reminiscing about his life, mostly involving years of unrequited love with a woman named Sarah.

We read about Franz's rendezvous with Sarah in picturesque locations, only to have them part in Damascus, and follow Franz's further travels and musings about the cultural connections and transition between the Occidental West and Oriental East while he dreams of reuniting with his high IQ lady friend.

The two are committed intellectuals, and I am not even sure where they get all their money to be flitting about the world, touring historic locations, drinking fine wines, and waxing philosophic.

Somehow I don't think research grants on European music in Istanbul would quite cut it, but if it does, then I'm in the wrong line of work. Maybe Énard could write books on finance next. Franz is not even portrayed as a human being.

He is a musicologist first and foremost. Every thought he has is couched in musical and overall academia. I mean EVERY thought. You'll see what I mean later. For now, let's just say that "Compass" is a prime demonstration of one of my few pet peeves when it comes to literature-- pseudo-intellectual posturing that some books purposefully geared towards an undefined class of "readers who like SERIOUS literature" are so often guilty.

Certainly the inquisitive mind will find a lot of possibly interesting things to highlight and look up later, but I didn't think the point of this book was to be a Nurse With Wound list.

You see what I did there? I purposefully threw in a reference that is sure to go right over the heads of many readers. Aren't I clever? Let me explain. Nurse With Wound is an experimental musical act that for a long time contained a running gag on their albums which was to include a list of "cool stuff" that had been influential to the creation of their music.

So at least my reference is relevant to this review by illustrating my main complaint about this book. Mathias Énard, on the other hand, simply throws a bunch of scholarly minutiae at us haphazardly, often with no context or relevance, at least not always apparent to the reader.

I enjoy learning about my world and taking deep anthropological dives into human cultures, and I equally enjoy associating with great people who can enrich my soul and mind.

But I swear that if I ever met this narrator in real life at, say, a cocktail party on the 67th floor of a Chicago condo, I'd be very tempted to do the world a favor and toss the pompous ass through the nearest window.

And everyone would applaud too, or else never again invite me to another one of their parties. I was attracted to this book because I wanted something meaty to chew on, as novels like these are often my virtual means of travel.

As Publisher's Weekly put it: "For readers who ask literature to do what history and politics cannot PW also promised that "unraveling Énard's arabesque yields a bounty.

I knew going in that this was written as a stream of consciousness, but I still expected to read a novel. I didn't want a string of vomited disembodied encyclopedia entries or a file on the author's I-player. I guess this style of writing must have appealed to some folks, because when I've later read the four and five star reviews of this book, they rarely failed to reference the references!

Fans have clearly expressed their gratitude over being introduced to some of the music, literature, history, and cultural landmarks mentioned in "Compass. But then why did the author not just write a treatise regarding art and history, tracing the connection between the European West and culture of the 'Orient'?

Énard is clearly writing from personal experience here, so much so that the narrator is obviously just him under the pseudonym of "Franz.

And most importantly, an obvious academic work would have appealed to a limited audience with identified interests in Énard's areas of expertise. Easier, and far more profitable, to just write an autobiographical travelogue and market it as a work of haute literature.

Now people who carefully follow the announcement for the Man Booker international prize long list, but who never would have ever spent two seconds considering the purchase of a book about Persian poets and sultans, are reading the very same material because they want to share vicariously in the prestige of having read something importantly cerebral to tell their friends about at their 67th floor condo party.

And let's face it, this book would certainly have won no awards with more truthful titles such as "Dreaming about a Freckled Redhead in a Miniskirt," or "Everything I Ever Learned as a Post-graduate," or "Me, myself, and Mathias," or my favorite "Stuff I Like.

But Énard takes it too far here, giving us a thinly disguised autobiography, a literary Vanitas. Absolutely every single page and almost every line overdoes it. Let's pick on just a couple of pages chosen at random by my dowsing finger, shall I? Ah-- " the streetlight on the corner of Porzellan is bothering me.

Franz reminisces about his state of mind when he moved to Vienna, "when I felt as if I were Bruno Walter summoned to assist Mahler the Great at the Vienna Opera, a hundred years later: having returned victorious from a campaign in the Orient, in Damascus to be precise A tram rumbles by.

And it doesn't tone down as the narrative goes on. It's as if Énard had no initial story idea, but instead took all of his notes, journals, dissertations, high school term papers, Discog reviews, and Goodreads TBR, then blew up Wikipedia, set the whole mess into Microsoft Word, THEN decided to concoct a novel out of that.

This book is highly regarded and loved by many, so don't pretend you could not find any merits to a book that clearly pushes the right buttons in so many readers. While drinking white wine in the aforementioned Heuriger, "discussing Istanbul perhaps, Syria, the desert, who knows, or talking about Vienna and music, Tibetan Buddhism, the trip to Iran that was looming on the horizon.

An author who has composed a truly timeless work of literature does not seek to impress us with his intellect with some peacock display like that narcissist neighbor who won't shut up about all the people he knows in town and all the trips abroad he's taken.

Great art does not rely so heavily on referencing the art of others. Should we accept a "painting" as a work of genius that consisted solely of the titles of the artist's favorite inspirational works simply written all across the canvas, no matter how beautiful the calligraphy or the quality of the ink?

Well, I'm sure there are elitists who would try to convince themselves of the merit of such a piece. But I would be the guy standing in the back of the gallery going, "I don't get it.

There are too many other things to read that don't require hundreds of nods to superior things. It is true that I cannot in good faith completely dismiss "Compass.

I give the book points for attempts at avant-garde storytelling. I actually did not mind the run-on sentences. I'm guilty of them myself, obviously. It's how we think. And Énard or his translator still manages to capture the feel of a delirious internal dialogue while maintaining a prudent cadence to spoken language that makes the entire work accessible.

I also truly enjoyed some of the academic content. For example, one thing you may not have known about me is that I play the triangle. Quit snickering! Yes, I play the triangle, and as such I have been fascinated with world percussion as well as classical compositions which employ the instrument.

As such, I have taken an interest in Janissary marches and how Turkish percussion had been synthesized by artists like Mozart into Western music. Sure enough, there is a section in this novel about this very subject as " m ilitary music is decidedly a point of exchange between East and West Énard delivers again with a lovely little exposition about the folklore of ghouls and vampires.

You know what? I would have been one of those people who'd have bought Énard's book if only he had written it as purely an academic work!

But he lied to us by calling "Compass" a novel when in reality he had compromised, taking subject matters that he knew a lot about and couching it as a work of fiction instead of non-fiction.

Why is this a problem? Because the compromise doesn't work in my opinion. Sure this book can be very educational. Sure it can be a pleasure to read. But the author is stuffing a square peg in a round hole, with the end result being that this is neither a novel nor a textbook.

It doesn't work as a novel because, despite everything it does right, it fails to illustrate a point or to stir emotions within me. Énard is so obsessed with cramming his narrative full of personal experience and knowledge that he forgot about pathos.

If someone were to ask me to describe the moment I knew I had fallen in love with the woman who was to be my bride, and I answered "It reminded me of Alvin Lucier's 'Silver Streetcar for the Orchestra,'" what have I conveyed? Assuming the person was familiar with Lucier, their subjective experience of the music would still likely be different than mine as we are all unique.

So what has the person learned about my wife or about me or my experience of falling in love? Have I told a story that could make them weep with joy, identify with my pleasure, bring me closer to the person interested in sharing a part of my life and the mystery of love?

Such an answer would only lead to disappointment and must indicate my lack of empathy or capacity to connect to a fellow human being. Even my friends who recommended this book admitted they had no investment in Franz or Sarah, who are largely wooden intellectual blowhards.

Well then why are we reading about them? If the real stars are the poets and musicians and fantasies and cultures of Vienna and the Arab world, who needs Franz and Sarah? They're like Raymond Burr in the American version of the "Godzilla.

A novel can certainly take breaks from an investing story to discuss politics, history, music, philosophy, culture, or whatever--tangients between the major acts, "erudite strolls" as Énard would call them.

But "Compass" takes this to such extremes that it is distracting in it's absurdity. I swear this could easily have worked as a satire against academic types. If someone told me that satire was actually the original intent behind the creation of "Compass" and that Énard had been conducting research on mass psychology by exploring the effects of awards and marketing on general interpretation of works of literature, I would not be completely surprised.

But I am convinced this is not the case, just as I am convinced "Compass" does not work as a novel. Yet it's not a textbook either.

For one, it's far too subjective. It's not a thesis because there is no stated hypothesis, no conclusion drawn from evidence and resources. Énard couldn't make this a proper thesis even if he wanted to, because this book tries to be too many things and discuss too many topics.

He wanted to take a huge chunk of Austria and Syria and spit out half a continent over millennia. It's too much stuff for the reader to swallow, too disjointed to learn anything truly cohesive, and too ironic to be about a man suffering from insomnia while the book often serves as a cure for sleeplessness.

Still, I have marked up my copy with highlights of interest that I may want to reference later, but unlike a textbook, there's no damn index to consult. I know I probably burst quite a few bubbles with this review, but remember this is just one opinion.

Certainly everyone has different tastes, and in this case I encourage anyone reading this review to not just take my word for it--give "Compass" a try and see what you think for yourself.

For any of you patient souls who have read my review carefully and disagreee with me, give me a hint of what I missed beyond the razzle-dazzle of the infinite lists and references. I genuinely want to understand this book better if in fact there is more to understand.

Also, in your experience, are there any better examples of Énard's ouvre? after passing Effingham, Illinois where stands the foot tall Cross of the Crossroads, dwarfed only by the Great Cross of St. Augustine, and which was once home to George Bauer, Jack Birch, Chad Green, Miles Mills, Jimmy Kite, Nick Gardewine, Daniel Winkler, Ada Kepley, and Uwe Blab The entire work consists of the reminiscences of insomniac, fiftyish?

Franz over one night as he wrestles with the knowledge that he has a fatal disease and has failed in a lifelong attempt to win Sarah, the object of his obsession.

The irony, we come to see, is that despite his long academic meditations on the necessity of recognizing the self in the other, Orient in Occident and vice-versa, he is so self-absorbed that he misses every chance to hear Sarah and to respond to her alterity, to absorb her being into himself and become vulnerable to her.

Sarah, a very successful academic, has her own weaknesses, a steely ambition and shell that prevent her from being honest with him.

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