Discomfort of Evening (eBook)

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2020 | 1. Auflage
272 Seiten
Faber & Faber (Verlag)
978-0-571-34938-8 (ISBN)

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Discomfort of Evening -  Lucas Rijneveld
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*SENSATIONAL WINNER OF THE BOOKER INTERNATIONAL PRIZE 2020* 'One of the best debut novels I have ever read. Shockingly good ... A classic.' Max Porter 'Haunting . . . reminded me a lot of Iain Banks. It's incredible that it's a debut.' Douglas Stuart 'Exceptional' (Financial Times) 'Exhilarating' (Independent) 'Luminous' (Observer) 'Beautifully wild' (Guardian) I asked God if he please couldn't take my brother Matthies instead of my rabbit. 'Amen.' Ten-year-old Jas has a unique way of experiencing her universe: the feeling of udder ointment on her skin as protection against harsh winters; the texture of green warts, like capers, on migrating toads; the sound of 'blush words' that aren't in the Bible. But when a tragic accident ruptures the family, her curiosity warps into a vortex of increasingly disturbing fantasies - unlocking a darkness that threatens to derail them all. A bestselling sensation in the Netherlands, Lucas Rijneveld's radical debut novel is studded with images of wild, violent beauty: a world of language unlike any other, exquisitely captured in Michele Hutchison's translation. ONE OF VOGUE'S TOP FIVE DEBUTS ONE OF THE OBSERVER'S HIGHLIGHTS ONE OF THE GUARDIAN'S TOP TEN BEST NEW BOOKS IN TRANSLATION

Lucas Rijneveld (b. 1991) grew up in a Reformed farming family in North Brabant before moving to Utrecht. One of the greatest new voices in Dutch literature, his first poetry collection, Calf's Caul,was awarded the C. Buddingh' Prize for best poetry debut in 2015, with the newspaper de Volkskrant naming them literary talent of the year. In 2018, Atlas Contact published his first novel, The Discomfort of Evening,which won the prestigious ANV Debut Prize and was a national bestseller. The UK edition won the Booker International Prize 2020. Alongside his writing career, Rijneveld works on a dairy farm.
*SENSATIONAL WINNER OF THE BOOKER INTERNATIONAL PRIZE 2020*'One of the best debut novels I have ever read. Shockingly good ... A classic.' Max Porter'Haunting . . . reminded me a lot of Iain Banks. It's incredible that it's a debut.' Douglas Stuart'Exceptional' (Financial Times)'Exhilarating' (Independent)'Luminous' (Observer)'Beautifully wild' (Guardian)I asked God if he please couldn't take my brother Matthies instead of my rabbit. 'Amen.'Ten-year-old Jas has a unique way of experiencing her universe: the feeling of udder ointment on her skin as protection against harsh winters; the texture of green warts, like capers, on migrating toads; the sound of 'blush words' that aren't in the Bible. But when a tragic accident ruptures the family, her curiosity warps into a vortex of increasingly disturbing fantasies - unlocking a darkness that threatens to derail them all. A bestselling sensation in the Netherlands, Lucas Rijneveld's radical debut novel is studded with images of wild, violent beauty: a world of language unlike any other, exquisitely captured in Michele Hutchison's translation. ONE OF VOGUE'S TOP FIVE DEBUTSONE OF THE OBSERVER'S HIGHLIGHTSONE OF THE GUARDIAN'S TOP TEN BEST NEW BOOKS IN TRANSLATION

lt;p>Marieke Lucas Rijneveld (b. 1991) grew up in a Reformed farming family in North Brabant before moving to Utrecht. One of the greatest new voices in Dutch literature, their first poetry collection, Calf's Caul, was awarded the C. Buddingh' Prize for best poetry debut in 2015, with the newspaper de Volkskrant naming them literary talent of the year. In 2018, Atlas Contact published their first novel, The Discomfort of Evening, which won the prestigious ANV Debut Prize and was a national bestseller. The UK edition won the 2020 Booker International Prize. Alongside their writing career, Rijneveld works on a dairy farm.

Michele Hutchison was born in the UK and has lived in Amsterdam since 2004. After a period working as an editor, she became a literary translator from Dutch, and recently translated Marieke Lucas Rijneveld's The Discomfort of Evening which won the Booker International Prize 2020.

lt;b>Few reading experiences are more thrilling than a first novel that feels urgent and original. In the past decade, Teju Cole's Open City and Garth Greenwell's What Belongs to You both had these qualities. The Discomfort of Evening ... belongs in this company. The story of Jas, a girl growing up on a family farm in the aftermath of her brother's death, is as exhilarating a debut as I can remember.

Intensely raw, shockingly graphic, and memorable ... There is a bold beauty to the book, which for all its modernity seems to be set in a different age of automatic religious belief: the immensity and mystery of the universe coexisting alongside the claustrophobic community of farm, church and school. By using Jas's everyday world as a metaphor for loneliness and fear, Rijneveld has created something exceptional.

One of the best debut novels I have ever read. Shockingly good. Utterly unforgettable ... A classic.

A hallucinatory debut ... Bursts at the seams with always apt, sharp, gruesome, sometimes simply witty imagery ... What powerful, evocative and courageous writing.

The most talked-about debut novel of 2020 already ... Absolutely compelling ... Brutal and vivid.

Translator Michele Hutchison deftly switches between registers and gives Jas a strong, unique voice ... Poetic, mannered language, realistic bleakness and descent into surreal darkness ... Compelling ... Fascinating characters and themes ...

Rijneveld takes us into the bleak Dutch countryside, into a family's grief, and inside the mind of a girl who is in hiding from her own life. This beautiful, strange novel is filled with sentences that stopped me dead.

Rijneveld is not destined for greatness; she has already achieved it.

Witty, dark: a dazzling debut that takes your breath away . The ending hit me like a straight left in my chest. It still reverberates there now.

There are a number of hotly anticipated debuts hitting the shelves ... Discomfort of Evening (Faber, March), translated by Michelle Hutchison, is a rich and luminous novel about fate and grief. It is already a bestseller in Holland.

1


I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit. For years we’d been planning to get a lampshade, a pretty one with flowers, but whenever we saw one in the village, Mum could never make up her mind. She’d been doing this for three years now. That morning, two days before Christmas, I felt her slippery thumbs in my eye sockets and for a moment I was afraid she’d press too hard, that my eyeballs would plop into my skull like marbles, and she’d say, ‘That’s what happens when your eyes are always roaming and you never keep them still like a true believer, gazing up at God as though the heavens might break open at any moment.’ But the heavens here only broke open for a snowstorm – nothing to keep staring at like an idiot.

In the middle of the breakfast table there was a woven bread-basket lined with a napkin decorated with Christmas angels. They were holding trumpets and twigs of mistletoe protectively in front of their willies. Even if you held the napkin up to the light of the bulb you couldn’t see what they looked like – my guess was rolled-up slices of luncheon meat. Mum had arranged the bread neatly on the napkin: white, wholemeal with poppy seeds, and currant loaf. She’d used a sieve to carefully sprinkle icing sugar onto the crispy back of the loaf, like the first light snow that had fallen onto the backs of the blazed cows in the meadow before we drove them inside. The bread-bag’s plastic clip was kept on top of the biscuit tin: we’d lose it otherwise and Mum didn’t like the look of a knot in a plastic bag.

‘Meat or cheese first before you go for the sweet stuff,’ she’d always say. This was the rule and it would make us big and strong, as big as the giant Goliath and as strong as Samson in the Bible. We always had to drink a large glass of fresh milk as well; it had usually been out of the tank for a couple of hours and was lukewarm, and sometimes there was a yellowish layer of cream that stuck to the top of your mouth if you drank too slowly. The best thing was to gulp down the whole glass of milk with your eyes closed, something Mum called ‘irreverent’ although there’s nothing in the Bible about drinking milk slowly, or about eating a cow’s body. I took a slice of white bread from the basket and put it on my plate upside down so that it looked just like a pale toddler’s bum, even more convincing when partly spread with chocolate spread, which never failed to amuse me and my brothers, and they’d always say, ‘Are you arse-licking again?’

‘If you put goldfish in a dark room for too long they go really pale,’ I whispered to Matthies, putting six slices of cooked sausage on my bread so that they covered it perfectly. You’ve got six cows and two of them get eaten. How many are left? I heard the teacher’s voice inside my head every time I ate something. Why those stupid sums were combined with food – apples, cakes, pizzas and biscuits – I didn’t know, but in any case the teacher had given up hope that I’d ever be able to do sums, that my exercise book would ever be pristine white without a single red underscore. It had taken me a year to learn to tell the time – Dad had spent hours with me at the kitchen table with the school’s practice clock which he’d sometimes thrown on the floor in despair, at which point the mechanism would bounce out and the annoying thing would just keep on ringing – and even now when I looked at a clock the arms would still sometimes turn into the earthworms we dug out of the ground behind the cowshed with a fork to use as fishing bait. They wriggled every which way when you held them between forefinger and thumb and didn’t calm down until you gave them a couple of taps, and then they’d lie in your hand and look just like those sweet, red strawberry shoelaces from Van Luik’s sweet-shop.

‘It’s rude to whisper in company,’ said my little sister Hanna, who was sitting next to Obbe and opposite me at the kitchen table. When she didn’t like something, she’d move her lips from left to right.

‘Some words are too big for your little ears; they won’t fit in,’ I said with my mouth full.

Obbe stirred his glass of milk boredly with his finger, held up a bit of skin and then quickly wiped it on the tablecloth. It stuck there like a whitish lump of snot. It looked horrible, and I knew there was a chance the tablecloth would be the other way around tomorrow, with the encrusted milk skin on my side. I would refuse to put my plate on the table. We all knew the paper serviettes were only there for decoration and that Mum smoothed them out and put them back in the kitchen drawer after breakfast. They weren’t meant for our dirty fingers and mouths. Some part of me also felt bad at the thought of the angels being scrunched up in my fist like mosquitoes so that their wings broke, or having their white angel’s hair dirtied with strawberry jam.

‘I have to spend time outside because I look so pale,’ Matthies whispered. He smiled and stuck his knife with utmost concentration into the white chocolate part of the Duo Penotti pot, so as not to get any of the milk chocolate bit on it. We only had Duo Penotti in the holidays. We’d been looking forward to it for days and now the Christmas holidays had begun, it was finally time. The best moment was when Mum pulled off the protective paper, cleaned the bits of glue from the edges and then showed us the brown and white patches, like the unique pattern on a newborn calf. Whoever had the best marks at school that week was allowed the pot first. I was always the last to get a turn.

I slid backwards and forwards on my chair: my toes didn’t quite reach the floor yet. What I wanted was to keep everyone safe indoors and spread them out across the farm like slices of cooked sausage. In the weekly roundup yesterday, about the South Pole, our teacher had said that some penguins go fishing and never come back. Even though we didn’t live at the South Pole, it was cold here, so cold that the lake had frozen over and the cows’ drinking troughs were full of ice.

We each had two pale blue freezer bags next to our breakfast plates. I held one up and gave my mother a questioning look.

‘To put over your socks,’ she said with a smile that made dimples in her cheeks. ‘It will keep them warm and stop your feet getting wet.’ Meanwhile, she was preparing breakfast for Dad who was helping a cow to calve; after each slice of bread, she’d slide the knife between her thumb and index finger until the butter reached the tips of her fingers, and then she’d scrape it off with the blunt side of the knife. Dad was probably sitting on a milking stool next to a cow taking off a bit of the beestings, clouds of breath and cigarette smoke rising up above its steaming back. I realized there weren’t any freezer bags next to his plate: his feet were probably too big, in particular his left one which was deformed after an accident with a combine harvester when he was about twenty. Next to Mum on the table was the silver cheese scoop she used to assess the flavour of the cheeses she made in the mornings. Before she cut one open, she’d stick the cheese scoop into the middle, through the plastic layer, twist it twice and then slowly pull it out. And she’d eat a piece of cumin cheese just the way she ate the white bread during communion at church, just as thoughtfully and devoutly, slow and staring. Obbe had once joked that Jesus’ body was made of cheese, too, and that was why we were only allowed two slices on our bread each day, otherwise we’d run out of Him too quickly.

Once our mother had said the morning prayer and thanked God ‘for poverty and for wealth; while many eat the bread of sorrows, Thou hast fed us mild and well,’ Matthies pushed his chair back, hung his black leather ice skates around his neck, and put the Christmas cards in his pocket that Mum had asked him to put through the letterboxes of a few neighbours. He was going on ahead to the lake where he was going to take part in the local skating competition with a couple of his friends. It was a twenty-mile route, and the winner got a plate of stewed udders with mustard and a gold medal with the year 2000 on it. I wished I could put a freezer bag over his head, too, so that he’d stay warm for a long time, the seal closed around his neck. He ran his hand through my hair for a moment. I quickly smoothed it back into place and wiped a few crumbs from my pyjama top. Matthies always parted his hair in the middle and put gel in his front locks. They were like two curls of...

Erscheint lt. Verlag 3.3.2020
Übersetzer Michele Hutchison
Verlagsort London
Sprache englisch
Themenwelt Literatur Romane / Erzählungen
Geisteswissenschaften Sprach- / Literaturwissenschaft Anglistik / Amerikanistik
Geisteswissenschaften Sprach- / Literaturwissenschaft Literaturwissenschaft
Schlagworte A Girl is a Half-formed Thing • convenience store woman • Daisy Johnson • dutch novels • Eimear McBride • Fitzcarraldo • Girl Woman Other • Grief is the Thing with Feathers • lanny • lanny max porter • Leila Slimani • lullaby • Max Porter • memory police • Murakami • oranges are not the only • OTTESSA • Ottessa Moshfegh • Sophie Mackintosh • translated fiction
ISBN-10 0-571-34938-2 / 0571349382
ISBN-13 978-0-571-34938-8 / 9780571349388
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