peter young’s listopia

69) Soazig Aaron, Refusal, 2002
Sometimes it seems that any new fiction centred on Auschwitz is required to offer up new horrors previously untouched upon and Soazig Aaron has certainly attempted to go down that route too, somewhat in the tracks of William Styron's Sophie's Choice (which I haven't read). In this case I'm not sure it was necessary, but as the point of Refusal is to focus on some of the after-effects of the horror, perhaps you can't really do that without the inclusion of a few graphic scenes as flashbacks. In Refusal much of the evil of Auschwitz happened to Klara Schwarz-Roth, a German-born Parisian Jew, separated from her daughter and sent there where she was forced to learn many of the darker aspects of survival, which also prevent her from properly rejoining the world upon her release. Klara is a fascinating and eloquent character, if also deeply scarred and deeply scary. Even though the story is told through the eyes of her pre-war friend Angélika, Klara takes centre stage throughout. This is one of those books that won't let go and is, even with Klara's self-imposed and self-limiting options for her future, defiantly difficult to argue with.

71) Paul Auster, Man in the Dark, 2008
August Brill, an insomniac and retired book critic, composes in his head a story of a parallel America to fill the early morning hours. It's a world in which 9/11 never happened and the US never went into Iraq (instead being preoccupied by the bigger nightmare of a secessionist civil war), and it's a world in which he himself plays a remote but defining role. The science fictional element can't be ignored but for the book to work in the way Auster probably intended, it ought to be (and of course others have done this particular kind of parallel world thing so much better). It's just August Brill's particular distraction, while his real preoccupation is his fractured family, defined by divorces and the violent death of his granddaughter Katya's boyfriend in Iraq. Another sizeable part of the book is taken up with August and Katya's eloquent discussions of movies – another deliberate distraction. If not set in darkened rooms or out in the night, most of this book takes place at least with a dark aura of regret and atonement, with everyone wishing to be somewhere else, and the distractions are coping mechanisms that help them occasionally look away from painful truths. I wouldn't say this a brilliant book by any stretch of the imagination – the parallel world thread isn't rigorous enough, for one thing – but I like the fact it's not burdened by too much structure, feeling loose and improvised instead even though Auster clearly knew where he was going with it. It's also a book that offers up many of the wisdoms of hindsight, and is all the better for that.