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Summary
Summary
A Best Book of 2018 at Publishers Weekly , Kirkus Reviews , and the New Statesman
Fox is the story of literary footnotes and "minor" characters--unnoticed people propelled into timelessness through the biographies and novels of others. With Ugresic's characteristic wit, Fox takes us from Russia to Japan, through Balkan minefields and American road trips, and from the 1920s to the present, as it explores the power of storytelling and literary invention, betrayal, and the randomness of human lives.
Author Notes
Dubravka Ugresic is the author of six works of fiction, including The Museum of Unconditional Surrender , and six essay collections, including the NBCC award finalist, Karaoke Culture. She went into exile from Croatia after being labeled a "witch" for her anti-nationalistic stance during the Yugoslav Wars. She now resides in the Netherlands. In 2016, she was awarded the Neustadt International Prize for Literature for her body of work.
Ellen Elias-Bursać is a translator of South Slavic literature. Her accolades include the 2006 National Translation Award for her translation of David Albahari's novel Götz and Meyer. She is currently the Vice President of the American Literary Translators Association.
David Williams did his doctoral research on the post-Yugoslav writings of Dubravka Ugresic and the idea of a "literature of the Eastern European ruins." He is the author of Writing Postcommunism , and translated Ugresic's Europe in Sepia and Karaoke Culture.
Reviews (3)
Publisher's Weekly Review
Ugresic''s soaring, incisive novel uses the shape-shifting avatar of the fox to explore story-making. The linked narrative structure is reminiscent of her novel The Museum of Unconditional Surrender, as an unnamed narrator in exile from the former Yugoslavia struggles with the complications of 21st-century writing. There are six sections, tonally varied save for the inevitable appearance of a fox in each, that cascade together in the thrilling climax, which merges the emotional-the narrator's love for her niece-and the practical-the narrator's disappointing visit to a Holden Caulfield-themed MFA program in Italy (it's named Scuola Holden). Two sections take on the form of essays, with some factual material and some invented by the writer. One examines a Japanese narrative by the Russian writer Boris Pilnyak; the other is a sketch of Dorothy Leuthold, a minor figure in the Nabokov cosmos. Two sections are set in Europe's literary community, as the narrator suffers the minor indignities of life as an "economy-class writer" while she is taught lessons about storytelling by two older women who are each associated with obscure Russian authors named Levin. In the remarkable third section, "The Devil's Garden," the narrator inherits a house in Croatia and forges a surprising connection. "The urge for home is powerful," she writes; "it has the force of primal instinct.... The greatest feat of every emigrant seems to be making a new home." Ugresic''s novel is a wonder; it's essential reading for writers and lovers of writing alike. (Apr.) © Copyright PWxyz, LLC. All rights reserved.
Kirkus Review
Another tricky treasure from an internationally renowned author.Ugresic has been in exile from her native Croatia since the region emerged as a country after the breakup of Yugoslavia. A vocal critic of nationalism, she was, she says, branded a "whore, a witch, and a traitor." It's that second slur that is most intriguing when it comes to reading the author's work. In Baba Yaga Laid an Egg (2010), she used a magical crone from Slavic folklore as a lens through which to view contemporary women's lives. Here, she takes inspiration in the vulpine creature who gives this new book its name. As a mythic figure, the fox takes on and sheds attributes as heor shetravels across cultures, but one characteristic seems to remain constant: The fox is an ambivalent type. By making the fox a sort of mascot to the first part of her novel, a section called "A Story about How Stories Come to Be Written," Ugresic is creating an affinity between the writer and the trickster. Even at her most straightforward, Ugresic is a sly storyteller, and here she is using every trick in the postmodernist playbook. Indeed, there are moments when it seems like she's pulling a fast one even when she isn't. For example, a reader who isn't knowledgeable about early-20th-century Russian literature might be forgiven for thinking Okay! An American Novel by Boris Pilnyak is an invention simply because that title is just too perfect. If Okay! is Ugresic's creation, it's a clever one. But the reader who bothers to Google is in for the delightful discovery that both Pilnyak and his "American novel" are real. Then we're left to wonder what true and false mean in fiction anyway, a question Ugresic complicates by using a first-person narrator and autobiographical detail. The translators deserves special mention, too. "The fox meets frequently with affliction, and is thus consigned to loserdom, its personal attributes preventing contiguity with higher mythological beings." The juxtaposition of "loserdom" and "contiguity" is not only funny; it also captures the high-low essence of Ugresic's style.Brilliant and laugh-out-loud funny. Copyright Kirkus Reviews, used with permission.
Library Journal Review
In this remarkably engaging novel-cum-meditation, Croatian-born, Netherlands-based Ugresic (The Museum of Unconditional Surrender) opens with an intensive examination of early 20th-century Russian author Boris Pilnyak's "A Story About How Stories Come To Be Written," tracking its roots to Japanese author Jun'ichiro_ Tanizaki's A Fool's Love, an "I-Novel" or "novel of the self." Her own sui generis I-novel is set variously at a literary conference in Italy, a house she's gifted in a Croatian village, and a classroom of unresponsive students. Here, the speaker deftly blends consideration of "newcomers" (Ugresic herself is an exile, forced from home for opposing nationalism during the Yugoslav Wars), the value of literature in a world driven by pop culture and commercial flash, the role of women as writers vs. muses, and the recognition that "the only thing -unambiguous and constant is loss." Under-lying the probing narrative is the Eastern European folkloric concept of the fox as cunning and treacherous-a sly trickster who, like writers, stands outside the circle of society. VERDICT A bracing intellectual conversation for sophisticates. © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
Dorothy Leuthold became an essential footnote to the history of modern literature through no effort of her own. She had no qualifications for it (Can somebody actually qualify to be a footnote? Oh, yes!), nor did she have the inclination to be anything of the kind. Leuthold is, nevertheless, a footnote appended to the great cultural text known as "Vladimir Nabokov." And while this is a cultural text that expands daily, Leuthold remains the same miserly and mysterious footnote she was at the outset, and this--in our day and age, when the number of footnotes and their size often threaten to engulf the text--is a genuine rarity. Dorothy G. (Gretchen) Leuthold was born on April 8, 1897 in the little town of Waseca, Minnesota. Her parents, Charles and Josephine Cincthold, were of German extraction as was, indeed, half of Waseca. Apparently she never married, so why Dorothy changed her name from Cincthold to Leuthold is not clear. Her entire life is a blank except for a single detail that has propelled her from total anonymity to the literary cocktail party whose guests are condemned to party on forever. True, at the party Leuthold would be a wallflower, a see-through figure, a person few would ever notice, the woman in the corner who'd be taken for a maidservant and prompted with a gesture to fill the glasses for the guests. Yet her name is right there on the guest list. Chance may have put Leuthold on the list, but she was no party crasher. Dorothy Leuthold arrived in New York from Waseca in 1930. She found an apartment on Manhattan's Upper West Side and a job at one of the branches of the celebrated New York Public Library; apparently she also attended classes at Columbia University. Andrew Field, an early biographer of Nabokov's, was one of the first to write of Dorothy Leuthold. Having arrived in the United States in 1940, Russian writer Vladimir Nabokov, an impassioned lepidopterist, planned to spend the summer of 1941 collecting butterflies with his wife Véra and son Dmitri, although to do so would be a struggle. Véra had been suffering from back pain that whole winter and they weren't sure she'd be able to undertake the trip, and besides they had no vehicle, no car of their own. "They did go, and on their first trip across America the Nabokovs were fortunate enough to have a driver. Her name was Dorothy Leuthold, and she was the last of Nabokov's private language pupils, an unmarried American woman who had worked for years in the New York Public Library system. Nabokov had met her quite by chance, and she had expressed a desire to supplement her knowledge of Russian, which was very limited but included, for reasons Nabokov could never fathom, all the swear words, the meanings of which she evidently did not properly grasp. Then, when the Nabokovs told her that they were going to California, she offered them her car, a brand-new Pontiac that she had just bought. But neither Nabokov nor his wife had any more occasion to know how to drive a car than to understand a bank statement--both were simple enough matters abstractly, but neither had obtruded upon their lives in the course of two decades. Their friend and pupil, when she learned that, said, 'Oh, I'll drive you.' Not only did she drive them, she also planned their itinerary, which took a southerly course and included a particularly memorable stop in Arizona, for it was there, on the south rim of the Grand Canyon on a very cold day in June (they had departed on May 26) that Nabokov walked down a path into the gorge and captured a new butterfly, which he gallantly named after their chauffeur, who had made the trip just to follow her whim and improve her Russian and be kind to some newly arrived immigrants." Dorothy Leuthold is mentioned by several other authors, notably Brian Boyd, another of Nabokov's biographers, Nabokov himself, and Robert Michael Pyle in his article "Between Climb and Cloud: Nabokov among the Lepidopterists." There has been far more interest, however, in the itinerary they followed on their trip from the East Coast to the West Coast--which Leuthold planned and pursued with a martial rigor--than there's been in the person of Dorothy Leuthold. The trip, which began on May 26th and lasted precisely nineteen days, was, among other things, an excellent introduction to the America of motels that Nabokov would later describe in his masterpiece, Lolita. The very names suggest the Nabokovs stayed in cheap roadside lodgings (Motor Court Lee-Mead, Cumberland Motor Court, Wonderland Motor Courts, Motor Hotel) while other names of equally cheap lodgings tend to push the reader toward the symbolism of the "memorable experience" (the hotel, for instance, where they stayed at the Grand Canyon and where Nabokov made the big "find" of his butterfly was called Bright Angel Lodge!). Excerpted from Fox by Dubrakva Ugresic All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
Table of Contents
Part 1 A Story about How Stories Come to Be Written | p. 1 |
Part 2 A Balancing Art | p. 47 |
Part 3 The Devil's Garden | p. 111 |
Part 4 The Theocritus Adventure | p. 185 |
Part 5 Little Miss Footnote | p. 237 |
Part 6 The Fox's Widow | p. 259 |