The Opposite of a Person, Lieke Marsman

If people were evil, and I wished to be good, then I had to make sure I was the opposite of a person.

How did I come to buy this unusual book (on kindle)? I have no idea. Whoever’s review it was that I read put your hand up in comments so you may have my thanks.

Marsman it appears is a Dutch poet. “She is the Dutch Poet Laureate [Dichter des Vaderlands] for the period 2021 to 2023” (wiki) and is now in her 30s. We must assume this is her first novel.

1.

As a child I loved to fantasise about being a cucumber. In the evenings I would lie with my arms against my body under my dinosaur duvet … and for just a moment try to take on the form of my favourite vegetable.

The prose is sparse. Chapters are short. The novel proceeds as a series of prose and poetry pieces, fiction and fact. Making up an interesting whole, a story of love and love lost.

The protagonist is
Ida, 29 years old
Blonde hair, first greys
1m 76cm
Will not be a professor or headteacher any time soon
Is, however, a climate scientist
Currently unemployed

Ida has just started a relationship with another woman. How Dutch is this? After their first date: “Robin and I say goodbye to each other at our bikes. I promise I’ll call her soon. She leans over and kisses me quickly on the mouth.”

3.

I started off as a student in Political Science, and when I became preoccupied with climate change it was primarily as an engaging political-philosophical question: how to reconcile a fact like the rising of the Earth’s temperature, the reversal of which requires a long-term solution, with the short-term perspective shared by almost all politicians?

Ida is now in the final year of a master’s in Earth Sciences. “‘My little intellectual,’ says Robin [herself a grad student in Literature]”. She applies for and is almost immediately granted an internship at an Italian institute documenting the removal of an old dam in the Alps. “On the science page of the BBC website I read that you cannot dream unless you sleep for more than ten minutes. I sleep for six minutes and dream about Robin.”

She and Robin fight; get over it; discuss (French writer) Marguerite Duras, the subject of Robin’s thesis. Ida gives us chapters on Italian dam disasters, homosexuality, Naomi Klein, Joni Mitchell, therapy, her parents.

“Robin pauses as she’s about to turn off her night light. ‘Do you love me?’ … ‘Yes,’ I say at last, but she’s already fallen asleep…”

Ida flies to Italy, takes a bus up into the mountains. The institute give her a cabin in a holiday park. In the morning she picks up her hire car and reports for work. Her job is to be not research, but to write up existing findings for the European Union, to convince journalists to cover the project, to make sure a film crew is in place for the moment of the dam’s demolition.

The context within which the narrative is inching forward is the coming end of the world as we know it, perhaps the end of mankind altogether; Ida’s (and no doubt, the author’s) thoughts and what she is reading; Ida attends a symposium on global warming in Milan; but we are never far from Ida’s feelings for Robin.

A chapter begins “That tackling global warming begins with having fewer children is something that is frequently met with a lot of resistance.” And, in the next “If all women were from now on only to have one child, the world population would be halved by 2075.”

“Still, if Robin were to ask me, I’d immediately want to have a child with her.”

There is a chapter on Copernicus. I spent a year on the early astronomers way back when. Let me say here that Copernicus did not DISCOVER that the sun was the centre of the galaxy. What he did was produce an immensely complex mathematical model based on the ASSUMPTION that the sun was the centre, from which Kepler deduced that the orbits of the planets were elliptical, from which in turn Newton deduced the laws of gravity.

She goes on to Descartes, whom I also studied (retained is another matter altogether); and to Kant, whom I did not. And from there, brings us back to the arrogance of technology-based solutions to the climate crisis.

Robin takes a week off her own work to stay with Ida.

EVERYWHERE YOU GO YOU FEEL STRONGER

You dream about nuclear explosions. Now and then
you explode with longing. Someone says:
struggle. You hear: loss. Is it possible

We are into the last quarter. The finale is explosive.

After Acknowledgements is The Translator’s Note, which is not a note about difficulties with translation, but a short essay, an attempt at interpreting what Marsman has written. I would rather the text stood on its own. Collins (the translator) writes “The Opposite of a Person is ultimately a live effort to harness its various hyperobjects through language, to make climate change and love, hopelessness and fear, a reality for its readers.” Maybe. If you get the chance, read it and decide for yourself.

.

Lieke Marsman, The Opposite of a Person, Daunt Books, 2022. Translated by Sophie Collins. 171pp.

19 thoughts on “The Opposite of a Person, Lieke Marsman

  1. Woo hoo a post! This sounds like an astonishing book in terms of form and one that could interest me. Would you call it a dystopian novel?

    I usually like translator’s notes, but that one? What does this mean “a live effort to harness its various hyperobjects through language”.

    Anyhow, I’d love to know who recommended it to you.

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    • I’ve been devoting such posting time as I have to AWWC.

      Not dystopian. Ida works in the area of climate change but in the present.

      I’ll have to think about what hyperobjects might be.

      So would I (Marcie and Emma were my first two guesses. I wonder who would be my third, Kate W?)

      Liked by 1 person

    • Marsman is a poet and it’s likely she thinks about how the work looks as well as reads. But the actual writing isn’t ‘experimental’, the story, interspersed with her environmental reading and opinions, flows along quite nicely. I’m sure you would enjoy it.

      WordPress is obviously still mucking around with the code. I’m sorry you lost a comment, I couldn’t see it in Pending or S#@m.

      Liked by 1 person

  2. Not many love stories have a chapter on Copernicus… So this sounds very interesting! I love the idea of blending wildly different forms like fiction, poetry and philosophy.

    Also found the concept of hyperobjects very interesting. I’d never heard of the term before seeing it here, but it seems to come from this book: https://www.upress.umn.edu/book-division/books/hyperobjects

    “Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place.”

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    • I tend to skip poetry in fiction – an old habit, I used to think writers slipped in poems they couldn’t persuade anyone to publish. Obviously that’s not true of Marsman. But I do enjoy prose which is on the edge of poetry (and I don’t mean flowery!), in which the shape of words and sentences is as important as the meaning.

      The author is knowledgeable about global warming and weaves it seamlessly into the love story. And thanks for hyperobjects.

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      • Ha, I used to skip poetry that had been embedded in prose too, feeling as though I was somehow being tricked (it sounds like you were feeling that way too, but your reasoning actually makes sense, whereas I think I just flinched away from it without reflecting on why).

        It sounds like a rich and satisfying story, one which truly stretches the reader (and not only for the definitions, but that’s useful too).

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      • My favourite is writers who blame their protagonists for their bad poetry – admittedly, that probably hasn’t happened for a hundred years.

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      • Ha, you’re probably right about that in some cases! I’m glad it’s not the case here though.

        Yeah, that “prose on the edge of poetry” thing can go both ways for me, but when it works, it’s a wonderful reading experience.

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  3. Well, I don’t know what a hyperobject is, but I think I need to find out because this sounds interesting. I also love prose poetry that collects itself to become something. Whoever took poetry and made it popular to be unreadable should be introduced to that cliff in Sparta.

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    • I’m yet to be convinced that ‘hyperobject’ has any utility other than to impress readers – look up Timothy Morton.

      Unreadable poetry is like abstract painting. I’m sure the artist has a reason for doing it, but do I have the patience or the interest to find out (and the answer is sometimes yes).

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      • I read an interpreter’s bio recently, and in it she used the word “pedagogy” followed by two words I did not know that ended in “gogy.” Basically, there are words for teaching adults and teaching in a specific way, if I remember correctly, and all I could think was, “Why use these words just to make me Google them??”

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