June

June

Hello Gentle Reader

“Bright Scythe: Selected Poems,” is the newest rendition of Tomas Tranströmer’s poetry to reach the English language; translated by Patty Crane. In the translated poem titled “Kyrie,” there is a line that reads: “For a long, long time till morning slips his light in the locks.” In these dark mornings; in these long nights; in these short days – each of us waits now in the shadow of winter, for summer to also slip its light in the locks. Twilight is tired. Its begrudged. The blue light is forced to herald the mornings in winter; often with a lack luster and dare I admit, mediocre trumpeting; after which the sun rises, often startling and brightly so – of course: clouds and sky permitting this unveiling of our distant star; after which it hurriedly crosses the sky and sets unceremoniously, which is only revealed by its complete absence, and the long crone’s hand of dusk has already whisked it away, and the ghosts of far more distant stars twinkle above, waving light years away. Where has summer gotten to? Where is that floral clothed creature? Where are the long days, when the dusk seems never ending; where shadows elongate, but never conquer. A time when blades of grass wear dew drops like pearl earrings? Yet, are now encrusted in diamond snowflakes which shimmer of faint memories? In these short days, in these long nights: summer becomes a dream, and a hopeful memory. A time when the world will thaw, bud and renew itself in green; and bloom into the spectrum of summer.

Gerbrand Bakker has been fortunate with the reception of his novels, which have been translated into English. His debut novel “The Twin,” won the IMPAC Literary Dublin award; and his second novel translated into English “The Detour,” (or “Ten White Geese,”) won the Independent Foreign Fiction Prize. This being said, these two novels published in English are not the proper chronological order in which they were published in the Netherlands. “The Twin,” is Gerbrand Bakker’s debut novel; but “The Detour,” is his third and most recent novel, to be published; which leads “June,” to being his second novel published in his original Dutch, but the third to be translated into English. Of the three “The Twin,” still resonates, the clearest: the two donkeys’ that are kept because they are wanted, and serve no real practical purpose on the farm. From “The Detour,” I remember socks; specifically the difference of perception and opinion between socks with holes, and well-kept socks; but also the uncle who stands in the fountain, with either confusion or disappointment. From “June,” the thought of clear blue skies, and the sweltering heat will be remembered, and how solace is found in the community pool; but also graves and acts of vandalism.

Of the three novels that Gerbrand Bakker has published thus far, “The Twin,” remains his most well-known novel, and his most highly recommended book. “The Detour,” his third published novel, and second to be translated into English; is by far is his most menacing literary work to date, and also his darkest novel, and along with “The Twin,” is a personal favourite. “June,” is different than both its predecessor and its successor; its narrative is fragmented and takes on a larger cast of characters, which offer their own perspectives and observations of the comings and goings in a June day, and reflect on the past and how it has shaped their at times unbearable and sweltering present situations. Each character within “June,” appears to be a victim of circumstances. In “June,” the past is as unforgiving and as blistering as the oppressive heat of the month and day itself; continually whipping the backs of all with pain, and demanding penance and repentance.

“June,” opens with Queen Juliana on a royal tour, where an artist is busy observing her face, and making detailed annotations and sketches of the royal visage. Then of course is her stern and duty bound assistant, always checking the schedule and time, and making comments about behaviour. The Queen herself is apathetic, bored, and sick of the royal duties that are best expressed as heightened mundane tedium. Still those who are not the Queen or apart of any royal deceleration or affair, as a daily event, this is a welcomed shattering of the typical innocuous day to day life, that would generally prevail over such days. Songs are sung; speeches are made, flowers are given, and even pygmy goats find themselves offered as a royal gift. For one mother and daughter, Anna and Hanne Kaan, the occasion was marked with both a surprise and a tragedy. If they had not been running late, Hanne Kaan would not have received that stroke on her cheek, by the Queen’s ungloved hand; if they had not been running late, perhaps the day would not have ended with such a tragedy; which all played out the June 17th nineteen-sixty nine. The day still reverberates in each characters mind. How the Queen’s visit which was marked by personal tragedy.

“June,” retraces the memories of a group of characters from the present day, to the past; and offers a atomized look at how memories, influence, and rebound through the years, affecting all those involved who try to make sense of that oppressive June day. Jaan Kaan deals with the memories, with practical required work in order to get through the day: fix up the grave, chip the paint away, and repaint the name, the dates once again. Zeeger Kaan appears to be adrift and uncertain in his approach to his wife Anna Kaan, who has once crawled up onto the hayloft once again, and talks to no one; she busies herself drinking advocaat, and at times informing her family to leave her alone. Yet there are even more characters, who make appearance sand offer their own recollections on the past, and on the rueful June day, when the Queen had stopped by to visit.

To call “June,” a novel that meditates simply on family, memory, and collective memory and its own inherent unreliability; would be a simple generalization of the novel. Bakker is an oblique storyteller often allowing for the routine day to day life, to take on greater importance then outright stating his themes and messages he wishes to convey in his narrative arc. It is only gradually that Bakker begins to reveal the undercurrents which usurp the households, the lives, and the routine habits of his characters, and then his themes are elucidated upon further. However his novels still give off a greater profound sense, then which is completely discussed in the novels, and often makes his novels appear deeper, heavier and of greater merit then other works of fiction that quickly give away the narrative, or delve into telling rather than showing. A lot in “June,” much like “The Twin,” and “The Detour,” is left unsaid, and unanswered; while at the same time, getting to momentous moments is often gradual and slow, and when these moments are reached they are understated, cool and often have a slight aloofness to them. It is hard to imagine, Bakker’s characters ever getting into a confrontation that is fueled by emotional reactions; where instead the confrontations are subtle, passive and undercutting, that if one were to read to fast, they would be passed over, or misunderstood as irrelevant.

Gerbrand Bakker is a writer who captures atmosphere with ease. Landscapes are expertly transformed and painted, with equal ease. From the grey overcast skies of wales all the way to its rolling green hills and broad valleys; to the countryside in the Netherlands from the “Twin,” expansive, flat and open both on the earth and in the sky; to the oppressive heat of June, and the slow deterioration of the farm, and the apathy caused by the heat, and the thoughts and opinions of others on the radio about how they are escaping the heat in June. However of the three novels in which Gerbrand Bakker has written “June,” is perhaps the weakest of the three. One of Bakker’s greatest successes is his ability to filter and sift the perceptions and observations of one singular character, and their experiences into a singular perception, complete with the characters own rationalizations and daily habits. In some writers this writing comes across as self-absorbed or tiresome, yet Bakker is capable of maintain interest, as well as progressive the narrative in a positive manner. However this narrative mode was dropped in favour of the fragmented narrative utilized in “June.” The experiences of the individuals there parts to play in the narrative, those interesting and often answering unique details in their own rights, at times began to slip and showcase a lesser interest, then say how “Emilie,” had accomplished in “The Detour,” or Helmer from “The Twin.” With the narrative being used in “June,” other characters may take on more paramount or prevalent perspective in favour of others, which is why it becomes slightly weaker in its narrative structure then Bakker’s other novels. However “June,” showcases Bakker’s unique writing abilities flourishing and maturing further and further, as he is a quiet writer, and a quiet talent, but despite this manages to pact a huge literary punch.

Thank-you For Reading Gentle Reader
Take Care
And As Always
Stay Well Read

M. Mary