Javier Marías, The Infatuations. Hamish Hamilton, London, 2013.
…the dead are quite wrong to come back, and yet almost all of them do, they won’t give up, and they strive to become a burden to the living until the living shake them off in order to move on.
The first dilemma facing Margaret Jull Costa, the brilliant translator of The Infatuations, by Javier Marías, was how to render the Spanish title of the original, Los Enamoramientos. There is no direct English equivalent. María, the first-person narrator of the novel, discusses the problem in the text, where she points out that most languages other than Spanish and Italian have the same deficiency; she defines the word thus –
..the state of falling or being in love, or perhaps infatuation, I’m referring to the noun, the concept; the adjective, the condition, are admittedly more familiar, at least in French, though not in English, but there are words that approximate that meaning…Some people think that being in love or infatuated is a modern invention that appears only in novels.
Several of Marías’ central concerns appear here: the nature and etiology of love (and, by implication, of the precarious human condition); the modes of narrating this in fiction – which exists in a state of uneasy symbiosis with reality.
The style is typical, too: it has the intricate, baroque complexity, with mixed registers and loping, cadenced rhythms captured unerringly by the translator, but in all of Marías’ novels this is taken to a higher level – slowly accreting clauses, loosely linked by the punctuation – the paratactic, endless commas in lengthy sentences and paragraphs often pages long, take some getting used to, but they drive the narrative relentlessly and hypnotically. There are verbal repetitions at the level of the sentence and the paragraph but also in the longer view.
One of these crucial refrains that punctuate the narrative like a repeated musical phrase is the concept of ‘envidia’; María admires but also envies the connubial bliss of the Perfect Couple she observes, in her solitude, in the café. When the Perfect Husband, Miguel Desvern or Deverne, is murdered, the grieving widow admits she can feel hate for the ‘instigators’ of the killing, someone perhaps who resented his success, possibly a close colleague. She’d seen this definition in an early Spanish dictionary and wondered how it compared with the English word ‘envy’ (Marías is always erudite, fascinated by words and their significance, how they translate):
‘Unfortunately, this poison is often engendered in the breasts of those who are and who we believe to be our closest friends, in whom we trust; they are far more dangerous than our declared enemies.’ [Covarrubias, Dictionary of 1611]
Marías delights in slowly uncovering (never fully revealing) this murder mystery’s secrets to demonstrate the ironic accuracy of the widow’s cryptic remark, which recurs several times in the narrative: he explores how passion, love, fidelity and treachery can drive our actions and cloud our judgement. When the brutal murder of Miguel takes place, María becomes involved in the consequences in a way that compromises her integrity, her sense of justice, and her loyalty to the man she is enamoured/infatuated/in love with.
Despite these philosophical investigations and narrative digressions, Marías is still a consummate story-teller, the translator of Stevenson and Conrad (as well as the more playful, metafictional Sterne and Faulkner, and of the sonorous, meandering prose of Sir Thomas Browne).
Another refrain is from Macbeth: ‘she should have died hereafter’. Macbeth is reacting to the news of his wife’s death. What does he mean? This riddle permeates The Infatuations: when is it timely for an event to take place? And what if we aren’t ready or able to process its significance? What part does memory play as we listen to the stories our thoughts narrate internally? – ‘sometimes a memory can be a devouring thing’.
This intertextuality is also found in all of Marías’ (not María’s) novels – but it’s not a postmodern game or ostentatious trick, it’s a fundamental feature of the writer’s serious purpose. Two other characters from texts that illuminate this novel are Balzac’s eponymous Colonel Chabert, a soldier pronounced dead on the Napoleonic battlefield, but who miraculously survives and comes back to confront his less-than-thrilled ‘widow’, and Dumas’ Milady de Winter, who in an earlier guise had survived being hanged by the musketeer Athos and had come back to haunt him in another incarnation. The Infatuations is a similarly haunted and haunting novel: another refrain is ‘the dead should not return’.
A related theme is what we do when telling or listening to stories – which also pervades other novels by Marías – as María thinks what the stories she hears and is implicated in might signify (most of the novel represents her thoughts, free-indirectly or directly narrated). This is her lover’s commentary on these fictitious revenants (Chabert and de Winter), and her reflection on his pronouncement:
“What happened is the least of it. It’s a novel, and once you’ve finished a novel, what happened in it is of little importance and soon forgotten. What matters are the possibilities and ideas that the novel’s imaginary plot communicates to us and infuses us with…” That isn’t true, or, rather, it’s sometimes true, one doesn’t always forget what happened…
This musing on the fictive representation of reality (‘It’s quite shameful the way reality imposes no limits on itself’) recurs throughout the novel. This leads María to speculate on the events that take place in the story narrated here in terms that often become highly conditional, with intricate modalities:
I find it hard to believe that what should never have happened while you were alive wouldn’t happen once you were dead. Would you want to die knowing that? More than that, you would be encouraging it, procuring it, propelling us into it.
Desvern would have remained silent for a few seconds, thinking, as if he had not considered that scenario before formulating his request. Then he would have given a rather paternalistic laugh…
Her dilemma, like the translator’s over the noun ‘inamoramiento’, is the subject of this novel: how can she determine the truth-status of the tangled story she’s involved in? Especially, as we’ve seen, as all novels’ plots are ‘imaginary’ and soon forgotten; here is her response to the story her untrustworthy lover is about to tell her to account for his role in it:
Perhaps he is going to deceive me with the truth…Perhaps he’s telling me the truth now so that it will seem like a lie. An apparent or genuine lie.
Marías is probably the most rewarding and original novelist writing today, and here we see him probing and assessing the nature of narrative and the practice of writing and reading narratives at a high level of philosophical and aesthetic cognition, while at the same time conveying a story – a novel of his own – that is gripping, wittily intelligent and exciting. I wrote several pieces about his ‘Your Face Tomorrow’ trilogy a while back; some can be found here, here, here and here.
Marías’ style can be hard work, but if you’ve never read him before I’d recommend you start with The Infatuations, which is perhaps his most accessible novel to date, and then move on to the rest of his back catalogue. There’s so much more to be said about this novel: its wicked humour at the expense of vain, vacuous writers in general, for example (‘Like so many writers, he was a mean, spineless little scrounger’, María thinks of one particularly irritating client), and of Luddites like Marías himself who still tap out their novels on a typewriter, not a computer, much to the annoyance of María, who works in publishing, and would have to scan their typescripts.