In the fall of 1965, George Burke, twenty -nine years old, published his novel Début. Short and strange, “Things: The Story of the Settings” follows selfie and Jerome, a two young Parisian couple working in the field of prosperous market research, and they are in permanent madness of excessive material desires. They want to supply their apartment with equipped carpet, black leather sofa, seats from tables, “alleged rural tables”. They prefer clothes that look luxurious and British. During the novel, the two people are combined into one entity – we never hear them talk – and move across a world with commercial temptations, defined with accurate and accurate.
Like many before them, SylVie and Jérôme make mistakes in their efforts to seek knowledge, and believe that they gain a kind of clarity – to others and themselves. They are, in fact, “the most stupid, the most natural in the world.” Through the penultimate novel page, it has been proven that the concept of the spouses for happiness-a permanent balance between the means and desires-is impossible to preserve it, and they are on their way to Bordeaux, where they held jobs at the executive level in a second-class advertising agency. The book ends with a kind of defeated a sigh of relief: they are only “taming the pets, which is sincerely reflecting a world that mocked them.”
However, SylVie and Jérôme will be envied by Anna and Tom, a couple of obedient animals in the midst of the new novel “New York Review Books). In confession, its author, Italian writer Vinkinso Latronico, calls “perfection” in honor of “things”, and his heroes are saddened by the past. “Previous generations,” Anna and Tom were convinced, “They had a much easier time to work than they were and what they were.”
Like SylVie, Jérôme, Anna and Tom moving as one of them: they do not talk to each other or to anyone else, and they travel across a world that has been voted with assumed cultural panels, supposed sound, and the ventilation of this magazine). Latronico documents their decisions and Demurrals with an elegant percentage of malicious comments on separate reports, a percentage of PEREC that is one day as “emotional cold” and its guest to Flaubert.
Imagine Latronico is smart and anyone will be aware of his source of materials, but his execution is innovative. Instead of the left bank on the nineteenth of the last century, we have Berlin at the age of twenty, where Anna Wattom moved from an unveiled country in southern Europe to follow the devastating lifestyle and professions in graphic design. Like the laptops that you work on and play, Anna and Tom’s aesthetic preferences are always on the lips of limitations, and checking updates are full -time, if negative. Just as the work of Selfie and Jerome in the advertisement in the middle of the century the function of “history was chosen for them”, the situation of Anna and Tom as two creators (“the term until they found mysterious and derived”) is “a natural result of the context in which it grew up.” As teenagers who arrived on the Internet with the Internet, they wandered on the computer and enjoyed it; As adults, they do for money what they did before. “This was a fact,” he writes Luronico. From this fact they concluded that they turned their passion into a job. This was an opponent.
Anna and Tom is not happy, although nothing bad happens to them. The worst luck is to cancel an independent contract, which brings them a few weeks. No one gets sick. No one dies. They do not have any. They are so isolated from disaster and discomfort to the point that they have to search for these things. To get a short talisman, they join the creative category in Berlin in mobilizing on behalf of a modern flow of migrants, whose arrival, in the summer of 2015, do not register first in the streets of the city in which they live but as a color transformation on their computer screens, which is familiar beige in the wars of the Middle East that is replaced by silver from medium metals. Anna and Tom finds it difficult to be useful, and although they are driven to help by feeling civil commitment – “of course” – they are also driven by “the feeling that something happens around them did not want to miss it, which is great with history.”
But their entire lives are organized around and empowerment through a history that remains largely in his peripheral vision. They work in a job without specific hours in a country that does not speak its language. They live in an apartment filled with light plants, whose location was located decades ago by the Allies bombings, although it “has never happened to them.” They travel repeatedly, and when they do so, the costs are partially compensated by the fact that they can rent their envy of a hundred and eighteen euros per night, “in addition to the coverage of the Ukrainian cleaner, driven by the French Economy Company that provides its taxes in Ireland; in addition to the online hosting committee, with offices in California but the tax registrar in the Netherlands; Another discount on the online payment system, which has its main headquarters in Seattle, but runs its European branch of Luxembourg; in addition to the city’s tax imposed by Berlin.
Like “Things”, “perfection” does not contain any dialogue, the characters that exist almost after the passage of thanks, as if the pictures that they create, contradict and consume on social media may talk about them. But are they?
In “Things”, this stimulus takes the form of questions filling the pages posed by Selfie and Jerome to potential customers:
