After dark - Murakami Haruki

I try, I always do, I swear. I really try not to buy another book by this author when, while walking past the bookstore section dedicated to him, a novel that I still haven’t read catches my eye. The first thought that comes to mind is: “Come on, your reading list is so long and varied, and you’ve already read quite a few of Harukis’s books recently, no need to buy another one so soon!” Famous (and useless) last words, I think, while I walk out of the shop intrigued by the synopsis that I’m reading on the last page of the paperback I’ve just purchased.

The Prague cemetery (Il cimitero di Praga) - Umberto Eco

It happened a few times while I was abroad. I said that I was from Italy and the person with whom I was speaking suddenly informed me that their favorite author was also Italian. Once they even asked me to guess who it was. Dante? I thought. No, too old. Montale? Too obscure. Volo? Come on! I give up, who is it? But of course, Umberto Eco! That was their answer. Eco? Wow, I’m surprised, I said. But why was I surprised, then? I have read my first Eco’s novel when I was a kid (if you guessed “The name of the rose”, well, you guessed right) and I have read every novel by him that I came across ever since. I loved each and every one of them. There was no reason to be surprised at all.

The emperor of all maladies - Siddhartha Mukherjee

I’ve already introduced Siddhartha Mukherjee when I reviewed “The gene”. What I said about Oliver Sacks is true for Mukherjee as well: a great scientist with outstanding literary skills.

He studied biology - that’s why he wrote a book about genetics - and works as a haematologist and oncologist, hence this work about cancer. A great book about a terrible subject, some might say.

Thus bad begins (Así empieza lo malo) - Javier Marías

In this novel Javier Marías makes use of a literary technique that has been employed in the past by some very famous colleagues of him: Francis Scott Fitzgerald (The great Gatsby) and Truman Capote (Breakfast at Tiffany's), just to name a few.

The main character, with whom the readers become very acquainted as the story unfolds, is actually just a proxy through which the author tells his story: he acts as a mere narrator and has little or no impact on the plot, besides observing and relaying, of course. On top of that the plot itself is not particularly engaging or original. Why did you read the book then? Or why are you recommending it? You’ll be asking. Because the plot is not necessarily what makes a book a good book.

The scent of India (L'odore dell'India) - Pierpaolo Pasolini

In 1961, Pierpaolo Pasolini - Italian poet, novelist, journalist and film director - joined colleague authors Alberto Moravia and Elsa Morante on a month-long trip to India.

The entries in this travel diary mostly reflect the author’s reactions to the situations he’s experiencing in terms of feelings and sensations - and some cultural/religious interpretation - rather than being cool headed rational, sociological and political explanations of them. India comes out as a barren, dirty and bad smelling pile of shaky buildings, open-air sewers, busy roads and temples, populated by a vast majority of multi-religious, ragged, placid, kind and sweet people, and a still new, stunned and unprepared well-off minority, whose only human strengths are their webs of family ties.

Snow flower and the secret fan - Lisa See

This is yet another novel about women in China. It’s based in the nineteenth century, in a very rural area. Ancient traditions still apply: feet binding, arranged marriages, transfer to the groom family after the wedding ceremony, seclusion in dedicated rooms, tiring house chores, endless childbearing. Women are expected to deliver sons and they are looked down upon and abused in case they only give birth to daughters or they don’t have children at all. More often than not their husbands take up concubines when their wives get older and less attractive.

Something happened, Work - Joseph Heller

If the name Joseph Heller doesn’t ring a bell, just think of how many times you’ve said “Catch-22”, when referring to a lose-lose situation, a dilemma, a deadlock, a paradoxical standoff. Well, that’s the title of his masterpiece, and that’s where the expression comes from.

“Work” is actually an extract from “Something happened”, Heller’s second great work. I did read the actual novel a few years ago, but I really loved reading this brief selection of some of its best parts again.