My first encounter with Ivan Vladislavić’s writing took place in a multidimensional construct of language and fantasy that is his remarkable novel The Folly (1993). It must have been around a decade ago when I moved to South Africa. Since then I have always returned to his books with a great sense of anticipation which has never been disappointed. His latest collection of stories, 101 Detectives, is no different, although it baffled me in the beginning. The first three pieces made me think a lot about the intellectual playfulness of The Folly. Some of the stories are set in recognisable and yet shifted or alternative realities which are quite uncanny. In a recent e-interview I asked Vladislavić whether this was his way of avoiding the cliché trap, of challenging the impression of one of his characters that “no matter what I do or say, or how I remember it or tell it, it will never be interesting enough” (“Exit Strategy”)? He hadn’t gone about it “deliberately”, he wrote, and mentioned that in his youth he read “a lot of sci-fi and was taken with writers like Ray Bradbury, who could twist the ordinary into the alien very skilfully through a kind of estranging lyricism”. Of his own early work he says that “the strangeness is more a product of language and imagery than of constructed setting.” More recently he had read speculative fiction again, “which may account for the atmosphere of a story like ‘Report on a Convention’. Many ordinary contemporary spaces are strange. One grows accustomed to it, but the precincts and lifestyle estates often have a weirdly layered, compelling artificiality to them. They’re at such an odd angle to the surrounding world that ‘shifting’ them would make them feel less rather than more peculiar.”
Reading and listening to Vladislavić, the key word I associate with his work is “intellectual”, especially in conjunction with “stimulation”, and it is the main reason why I read him. He challenges me, inspires me to question reality and literature, to perceive both more consciously and often with deeper appreciation. I delight in the engagement. When I think Vladislavić, I also think art, photography, beauty, language, and, perhaps above all, Johannesburg. Few have written as perceptively about Johannesburg as he, “mapping and mythologising” the city (in the words of Elleke Boehmer). Few can employ language to capture not only the beauty of experience, but the beauty of language itself to such stunning effect. Few have entered collaborations with artists of different media, as victoriously enhancing the disciplines in the process. In 2010, together with the South African photographer David Goldblatt, Vladislavić published TJ & Double Negative, a novel with photographs. More recently he worked with Sunandini Banerjee on an illustrated novella titled A Labour of Moles (2012), and 101 Detectives also includes a “Special Feature”: a gallery of photocopies of dead letters, ie letters never delivered to their intended recipients because of address errors and suchlike, referred to in the story “Dead Letters”. There are also images of the places they were supposed to have reached, taken from an exhibition in Poland dedicated to them.
What appeals to Vladislavić in this kind of exchange? I wondered…
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