Camera

In this improbable love story, we meet a man who is obsessed with himself: how he does things and all the ways he might have done them, how he thinks, why he thinks the way that he thinks, how he might do or think otherwise. What happens? He takes driving lessons, goes grocery shopping, slowly yet methodically battles an olive on a plate. It is all simple and amusing until life intercedes: there is love, suddenly, and change, a flurry of emotion, and an unexpected incident with a camera on a ship. Only Jean-Philippe Toussaint - master of poignant deadpan - could write a novel at once so aloof and so touching, where we come to know our narrator intimately while knowing almost nothing about him.

Simply put, Jean-Philippe Toussaint is one of the most original novelists working today, and will almost undoubtedly go down as one of the great comic writers of our era. Toussaint has been likened to some diverse artists (Jim Jarmusch, Samuel Beckett, Nicholson Baker), but perhaps the most apt comparison is to Charlie Chaplin, for a few reasons. 1) Like Chaplin, he turns regular-life situations into comedy by the slightest and subtlest exaggerations; 2) He loves “stills,” moments when our attention freezes on some detail of everyday life and it strikes us as ridiculous; 3) His stories move from scene to scene with often only the flimsiest excuse for an over-reaching plot, although what we come away with is not just a patchwork of set pieces but rather a surprising feeling of melancholy. Toussaint’s contemporary existentialism is as poignant as it is funny. As the narrator of Toussaint’s novel Monsieur says in his closing line: “Life, mere child’s play, for Monsieur.”