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Comment: Moderate wear on cover and edges. Minimal highlighting and/or other markings can be present. May be ex-library copy and may not include CD, Accessories and/or Dust Cover. Good readable copy.
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Pigeon Post Paperback – Dec 1 2008

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Product Details

  • Paperback: 159 pages
  • Publisher: Dalkey Archive Press (Dec 1 2008)
  • Language: English
  • ISBN-10: 1564785165
  • ISBN-13: 978-1564785169
  • Product Dimensions: 14 x 1.5 x 19.8 cm
  • Shipping Weight: 159 g
  • Amazon Bestsellers Rank: #3,211,076 in Books (See Top 100 in Books)
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Product Description


accomplished and delirious comic novel' - James Womack, Times Literary Supplement

About the Author

Dumitru Tsepeneag is one of the most innovative Romanian writers of the second half of the twentieth century. In 1975, while he was in France, his citizenship was revoked by Ceau?escu, and he was forced into exile. In the 1980s, he started to write in French. He returned to his native language after the Ceau?escu regime ended, but continues to write in his adopted language as well.

Jane Kuntz has translated Everyday Life and The Power of Flies by Lydie Salvayre, Hotel Crystal by Olivier Rolin, Pigeon Post by Dumitru Tsepeneag, and Hoppla! 1 2 3 and Making a Novel by Gerard Gavarry, all of which are available from Dalkey Archive Press.

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Most Helpful Customer Reviews on (beta) 1 review
1 of 1 people found the following review helpful
A deliciously complex subversion of our expectations Sept. 3 2009
By G. Dawson - Published on
Format: Paperback
Pigeon Post, a novel by Romanian author Dumitru Tsepeneag, challenges our underlying assumptions about novels and their writers. Rejecting traditional narrative structure, Pigeon Post instead is made up of fragments ostensibly composed by an anxious writer, named Ed, struggling to write a novel. Bits of dialog and memories mingle with recipes for herbal teas, a story involving a chess master, and descriptions of scenes Ed glimpses from his apartment window. To enliven his novel-writing project, Ed turns to three longtime friends (Edward, Edgar, and Edmund) and solicits memories from them to add to his novel-in-progress. In this collaborative writing project, it's never clear what's real and what's imagined, what's part of Ed's novel and what's part of Ed's daily life. Indeed, it's quite likely Ed's three "helpers" are nothing more than facets of his own imagination, each with a distinct artistic vision for the novel. In an interview in June 2008, Tsepeneag likened Pigeon Post to "a creative writing workshop."

Slowly, out of the tangle of seemingly unrelated fragments, several cohesive story lines emerge, but they are never fully explored. Nor does Pigeon Post offer much in the way of thematic development (in that same interview, Tsepeneag admits to no more than "the shadow of a theme"). Early in the novel, in a passage where Ed describes his writing project, Tsepeneag signals what kind of reader he's hoping to reach:
"When all's said and done, I'm piecing together a puzzle that doesn't exist. In the insane hope that when I'm through, I'll manage to put forward a more or less consistent story. I'm counting a little on the reader here, on the kind that's capable of hanging in there to the end, or remaining active and alert like a detective in a dentist's waiting room."

Pigeon Post is frustrating and unsatisfying on many levels, mostly those related to our desire to read a good tale in an accessible form. Viewed as an experiment in structure and identity, however, this novel is a deliciously complex subversion of our expectations, right up to the elegant twist at the very end.

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