Western by Christine Montalbetti

I dislike reading French books in translation, so it’s a bit my own fault for picking up Montalbetti’s novel, Western, translated into English by Betsy Wing. Despite actually having met her briefly at a reading in Boulder, I haven’t read Montalbetti’s work before, so the biggest issue about reading in translation is that I don’t know her own voice. I can’t tell whether I’m not crazy about the translation, or whether the translation is faithful but I am not wild about Montalbetti’s style. (Or, a third possibility: I’m annoyed with myself for buying the translation and can’t quite relax into the writing the way I normally would.) Whatever the reason, I found much of the prose to be choppy and forced, and I kept finding myself putting the book down or re-reading the same paragraph multiple times. This changed a bit toward the end of the book, when the style smoothed out considerably and I found it a much more pleasurable read. I’m a bit confused by my lukewarm reaction to the book, considering that two people whose book opinions I highly value–my advisor, Warren Motte, and my friend and former colleague, P–really enjoy her work.

The book’s premise is that of an old American western, but rather than being plot-driven, Montalbetti withholds the action as long as possible in favor of exploring endlessly meandering details. In one passage early on, I loved the personification of words in a conversation–those that tumble easily from the lips of a confident and relaxed participant, compared with others that fight to leave the mouth of a shy and awkward party to the conversation. This character, Dirk,

look[s] all around for words as though they already existed somewhere in a solid state and just had to be extracted from whatever out-of-the-way place they’re hiding in… and when he finds one of them, he grabs hold of it for you by the scruff of its neck and drags it, without further ado–struggling because of the weight of this cumbersome, limp individual, resisting him with all the power of its passivity–all the way up to the mouth that opens to submit the prisoner to Ted and our thirty-year-old. (44)

This slow and detailed progression repeats itself to create the book’s rhythm. Ants in the shadow of a character’s boot are explored in depth and with great psychological attention,  and similar detail is afforded to the movement of a drop of water, light in a mirror, a character on a screen. This sentence describing the boot that forms the ants’ terrain was lovely, if a bit overwritten:

The boot’s style is identifiable, with its beveled heel and the topstitching running up the leg in a wavy pattern–should we be seeing hills in all this stitching, their slopes full of game, their bucolic undulations so pleasing to the eye?–or is yours a more maritime imagination, leading you to think about the traces left by every obstinate returning wave on the sand of a beach–not the ribbons of foam that float ont eh air like fragments that have come loose from a mummy’s wrappings (something you might come across on a very windy day), but those embellished drawings, those arabesques that that same regathering wave pours over: pulling back to consider what it’s inscribed before coming again to scrawl some new figure with wild daubs of its brush, adding to its earlier lines in the sand. (7)

In the end, as I mentioned, the book surprised me in quite a positive way, drawing me in much more than it did initially. And actually, as I’m writing this now, I’m finding myself wanting to go back and give it another shot, to get another glimpse of those details so intricately explored. I’ll definitely give Montalbetti another try–but next time, I’ll read her in French.

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