Francis Mirkovi?, a French Intelligence Services agent for fifteen years, is travelling first class on the train from Milan to Rome. Handcuffed to the luggage rack above him is a briefcase containing a wealth of information about the war criminals, terrorists and arms dealers of the Zone - the Mediterranean region, from Barcelona to Beirut, from Algiers to Trieste, which has become his speciality - to sell to the Vatican. Exhausted by alcohol and amphetamines, he revisits the violent history of the Zone and his own participation in that violence, beginning as a mercenary fighting for a far-right Croatian militia in the 1990s. One of the truly original books of the decade, and written as a single, hypnotic, propulsive, physically irresistible sentence, Mathias Enard's Zone is an Iliad for our time, an extraordinary and panoramic view of violent conflict and its consequences in the twentieth century and beyond.
Mathias Enard, born in 1972, studied Persian and Arabic and spent long periods in the Middle East. He has lived in Barcelona for about fifteen years, interrupted in 2013 by a writing residency in Berlin. He won several awards for Zone, including the Prix du Livre Inter and the Prix Decembre, and won the Liste Goncourt/Le Choix de l'Orient, the Prix litteraire de la Porte Doree and the Prix du Roman-News for Street of Thieves. He won the 2015 Prix Goncourt, the 2017 Leipziger Book Award for European Understanding, and was shortlisted for the 2017 Man Booker International Prize for Compass.
Title: Zone
Author: Mathias Enard
ISBN: 9780992974701
Binding:
Publisher: Fitzcarraldo Editions
Publication Date: 2014-08-20
Number of Pages: 528
Weight: 0.6397 kg
'[Zone is] an ambitious study of twentieth century conflict and disaster ... Enard does for the comma in Zone what Eimear McBride did for the full stop in A Girl is a Half-formed Thing, and just as McBride brought her writing a raw intensity and immediacy, Enard brings to his a similarly fierce political engagements and moral authority ... Enard's novel is to be seen within a tradition of French avant-garde writing ... The result is a modern masterpiece...'
- David Collard, Times Literary Supplement
'[T]he brilliance of Zone lies in its brutal refusal to stop. Again and again, Mathias Enard's white-knuckle narrative plunges us back into the battle-scarred past, forcing us to confront its horrors ... a relentlessly inventive novel.'
- David Winters, Literary Review
'I haven't read anything this worthy of publication in years, nor this stylistically and thematically interesting, this politically and literarily engaged, this exciting and gripping, this moving and heart-breaking and this - the real kicker given that Zone is a 521 page stream of consciousness - readable. Zone is as close to a flawless novel as I have encountered in a very, very, long time.'
- Scott Manley Hadley, The Triumph of the Now
'[T]he material of a conventional thriller has been sublimated into an atmosphere of violence, power and cruelty; humanity here is little more than a vector through which various kinds of insanity flow.'
- Nicholas Lezard, Guardian
'Zone ... is a staggering literary achievement. A novel written on the grandest scale, with the ambition of creating a modernist prose epic with the scope of Homer or Ezra Pound's Cantos, it is at once beautiful and encyclopaedic.'
- Thom Cuell, The Workshy Fop
'Mathias Enard has found a way to restore death to life and life to death, and so joins the first rank of novelists, the bringers of fire, who even as they can't go on, do.'
- Garth Risk Hallberg, The Millions
'The novel of the decade, if not of the century.'
- Christophe Claro, translator of Thomas Pynchon
'Zone is a major and compelling work, a work that will keep you in its grip from its first utterance to its last.'
- Brian Evenson, author of Last Days
'Like Flaubert and James Joyce, Enard seems to have found a model for his omnivorous novel in the Homeric epic, while Ezra Pound's ghost also haunts Zone.... Enard's erudite and ambitious novel is ... a Flaubertian encyclopaedia of our times at the end of a violent century.'
- Stephen Burn, New York Times
