Solenoid

Solenoid is uncategorisable epic of interconnected realities, a book that seems to be about… everything. On a single page you might be flung from intimate insights into the banality of a teacher’s life to grand theoretical re-imaginings of the universe, to microscopic insights into mites, matter, love or letter-forms. It’s a mind-boggling, bravura and ceaselessly entertaining book, unlike anything else. The translation struck us as word perfect, a feat of attention to detail that transports us with total control from Communist Romania to the far sci-fi reaches of the imagination and back again.

Dustin Illingworth, The New York Times

‘“Solenoid” is an instant classic of literary body horror. It is divinely, wondrously gross. (Sean Cotter’s translation, excellent throughout, is especially good in its technical vocabulary, rendering the stuff of the body with a mad anatomist’s glee.) From its opening lines, the novel highlights the odious amid the mundane.’

Ben Hooyman, Los Angeles Review of Books

‘The writing itself is hypnotic and gorgeously captures the oneiric quality of Cărtărescu’s Bucharest. Moreover, as it’s a key component of the whole package, Cotter’s English rendering of the original Romanian warrants special mention. Cărtărescu’s intricately constructed image systems and conceptual play are sophisticated enough without being bogged down by knotty syntax and swampy sentence construction. Cotter’s translation is attentive to the efficiency of Cărtărescu’s ornate but surprisingly approachable prose, gliding from sentence to sentence and calling little attention to itself. The sheer immensity of Cotter’s undertaking combined with the unfailing evenness of the translation’s quality is nothing short of remarkable.’

Alex Lanz, Asymptote

‘Solenoid is ambitious, esoteric, grotesque, sometimes grisly, and constantly brandishing a surly egotism worthy of Dostoevsky’s underground man. It could well be one of the most successful pieces of fabulism in recent decades. And as we’ll see, it serves as a kind of summation of surrealism, as well as the major trends of twentieth-century thought that accompanied the history of modernist art.’

Will Self, The Nation

‘His novel Solenoid has a relentless preoccupation with subjectivity. But unlike his peers’ self-obsession, Cărtărescu’s is not concomitant with the mere piling up of perceptual factoids. If anything, he aims to do the opposite: While introducing us to a protagonist who is not unlike himself, Cărtărescu has written a novel about a self that is decidedly not synonymous with its author.’

Kirkus Reviews

‘Cărtărescu writes poetically and philosophically (“What visceral and metaphysical mechanism converts the objective into the subjective?”), and while the story doesn’t always add up, it’s full of arresting images and eldritch twists that would do Umberto Eco proud. A masterwork of Kafkaesque strangeness, brilliantly conceived and written.’

‘My book is, essentially, about human solidarity in the face of suffering and death. We have seen too many atrocities and too much genocide on this planet where we all live together. My characters protest against the tragedy of the spirit that must die. “Solenoid” can be seen as a long commentary on Dylan Thomas’s famous line “Do not go gentle into that good night.” Solenoid is also my human and literary testament: everything I have ever wanted to say to my fellow human beings.’

Read the full interview here.

‘The translation connects with one of the book’s central themes: escape. I began the translation during the pandemic, when all any of us wanted was escape, and when I had no brain for anything beside the slow, detailed work of the translation’s first draft. Mircea’s words were a staircase out of the panic and stress of that time, an intense encounter with literary beauty.  

‘I translated Solenoid over the course of about two years, and four drafts. The vast scope of the novel’s references to European literature and American mathematics and the Rubik’s Cube and the Colentina neighborhood in Bucharest meant that I read widely alongside the translation. I eventually decided that the most useful part of the research was not understanding the references but simply the posture of curiosity, the same wondering that drives the book’s narrator.’

Read the full interview here.