Olga Tokarczuk’s Flights,
being a book of diversions, of anything but the straight and narrow; a book bound by water, in that it is fluid, unfixed, and preoccupied with the very stuff, and the whales within; an interminable book, in which numerous stories never finish (for what is an ending but a wall to be destroyed or circumnavigated by time and other stories), but also a terminal book, in that it is “situated at the extremity of something” (New Oxford American Dictionary), like a book set on the eve of an important day, the day we leave, the day we make our move, the day we attack; and speaking of extremities, it is a book obsessed with fingers and toes and the blood vessels within, and all of the body’s parts, muscles in particular, and their preservation, long after the soul has left the body, submerged in anything from booze to Kaiserling III and held in a jar, transported across the world via horse and buggy or Russian galleon, to be placed on full display before students, kings, curious onlookers, and a grieving daughter, whose letters challenge the dubious practice of plastination; a book in which letters cross paths with lists, travelogues, tall tales, myths, ruminations on plastic bags and sanitary pads, dark matter and swastikas, stories that traverse the ruins of Athens, a boiler room in Moscow, the olive groves of Croatia, not to mention places without names, impossible to find on a map, without coordinates, all of it jumping from past to present and back again, if linear time is to be believed; a book of wandering women, who disappear and reappear on their own accord, slipping into the divine rhythms of circular time; a book about the temptation to make meaning out of any assortment of objects; a book made of 116 sections in all, which is the number of years the Hundred Years’ War actually lasted, and is the prefix for several European telephone helplines such as 116000, the hotline for missing children, or 116123, the emotional support helpline, according to Wikipedia, a site which may be, says Tokarczuk, “mankind’s most honest cognitive project,” except that it cannot index “its inverse, its inner lining, everything we don’t know”; a book populated by characters who either do not know, can’t figure it out, are lost, are trying to figure out what happened in that span of time that slipped their grasp, or those who know it all, who know the map like the back of their hand, or so they think; a book that anticipates the sovereignty of airports, those modern portals that make us time travelers, where you and I might collide, and if we do, will we talk to each other, tell our stories, move beyond the Three Travel Questions (where are you from, where are you coming from, where are you going) and into our ideas, those dangerous, viscous things, or will we simply utter apologies and head to our gates; a book that floods, that breaks at the seams and spills out into the world, so that fact and fiction get scrambled and mix in the deluge, becoming indistinguishable; a book with no answers, only arrows pointing in other directions, toward books yet to be written, histories to be retold, cities at the ends of the earth, or to the person nearest you; a book oriented, most importantly, toward other pilgrims…
…is masterfully translated from the Polish by Jennifer Croft, available from your English publisher of choice, and a magnificent read, one that travelled with me across Poland, Ireland, and the UK, and has convinced me, once and for all, that it is a crime never to read Moby-Dick.
[Ed. note–Biblioklept originally ran Ryan Mihaly’s review of Flights in the summer of 2018. We run it again in recognition of Olga Tokarczuk, who was awarded the Nobel Prize for Literature for 2018. The 2018 award was initially canceled after a sexual assault scandal. Noted genocide-apologist Peter Handke won the 2019 award.]