Compass – Mathias Énard – A cerebral socio-economic tragedy about obsession -one capricious hallucination after another. Take the tram past the cathedral, through the gateway of Istanbul & into the subconscious of an opium addicted musicologist; plagued by his curiosity for Syrian tombs, Viennese operas, the Arabic language, and his post-doctorate muse, Sarah —a woman whom for some reason he cannot keep, not even in the same country. Although in standard novel form, Compass reads more so as a lucid thesis; as Énard’s discoveries in literature, music, and art become etched into our own subconscious. That being said, we recommend to the reader two essential components to sitting down with this book: prepare a notebook dedicated to Compass, and be sure to have reference materials at your disposal.
Énard’s novel takes as much effort to read, as we might imagine it took to write; a disorientating narrative on aging, desire, and the anachronistic ideologies of Orientalism —e.g. the colonialist attitude toward Eastern culture. Yet through this shared realization between our narrator and his muse, it is concluded that it may be possible to address these global challenges by deconstructing stereotypes of Eastern culture, and embracing instead the influences they so justly offer.
Compass is also a love story, yet we are introduced to the struggles of an unrequited intimacy: of a man who surrenders to his habitual passions, and the woman who denies such irrational folly. Although Franz and Sarah stir up numerous interludes of sexual tension, as the reader we find ourself addressing the loneliness of disappointment. Most specifically alongside Franz’s emotional perspective on the trials of love, and of archaeology – a playground for coincidence. Do we pity our pathetic Franz? Or do we find ourselves to sympathize instead, concerning his hopeless attempts to uncover the origins of his many crises?
Translated from the French by Charlotte Mandell, New Directions. 2015