Dedalus, 2016, 215 p. Translated from the Italian, L’interprete, by Judith Landry.

This is a very odd book indeed, though dealing, as it does, with language, it can be viewed as a kind of companion piece to Marani’s New Finnish Grammar and The Last of the Vostyachs. The narrator, Felix Bellamy, a Swiss national, is head of an interpretation department who becomes fascinated by one of his staff beginning to exhibit a peculiar kind of glossolalia, making sounds that are effectively unintelligible and which may be those of a primordial language which has long since been forgotten.

Curiously, Bellamy, parachuted into his supervisor’s job with vague promises of further promotion, is unsympathetic to translation, mistrusting his underlings as “circus performers, shifty, dishonest, quick-change artists, mental stuntmen.” Quite how Marani’s translator reacted to his outbursts against the profession is a question. These all may of course be a jest on Marani’s part but he has his narrator go on to tell us, “Languages are like toothbrushes: the only one you should put in your mouth is your own … it’s dangerous to let yourself be contaminated by the germs of another tongue … a foreign language injected into our mind brings with it the taint of unknown sounds, a vision of worlds that are incomprehensible to us – the lure of other truths and a devilish desire to know them.” It is that lure, though, that devilish desire, which makes reading translated fiction so interesting.

The interpreter disappears, leaving a list of names of cities, some of which have been ticked off. Bellamy’s wife leaves him (which may be connected with the interpreter’s disappearance) and he himself begins to suffer from the interpreter’s malaise and goes for treatment to a clinic run by a Dr Barnung. Barnung tells him French and German are similar in the way they view reality, but in essence are profoundly different. “Latin and Germanic languages have something in common … but they cannot mix. In Romanian, all that is rational about Rome, mingled with Mediterranean ebullience, becomes fused with Slav passion and melts into the yearning melancholy of the steppe. German is a bit like aspirin, it’s good for everything: it clarifies thought processes, stiffens resolve and makes feelings bare.” Felix soon perceives something is amiss at the clinic, leaves, and sets out to try to find the interpreter by visiting the cities as yet unticked on his list.

Then things get really weird. The text morphs into a species of thriller when Bellamy is targeted by operatives of Dr Barnung, but escapes. To survive he has to embark on a crime spree, robbing petrol stations, becoming known as ‘the Beast of Bukovina,’ taking up with Magda Kobori, a young woman whose car he stole, with her in it. They stravaig through the back roads of Romania like some sort of Balkan Bonnie and Clyde before Bellamy returns once more to tracking the interpreter.

I’m never sure if something like this is because of the opacities of translation or whether it’s a true indication of foreign sensibilities but, in common with other protagonists of fiction translated into English, Bellamy as a character here presents as incomplete, almost as a kind of absence, though his misanthropy shows in a passage where he reflects, “I was exposing myself to risk by mixing with insane deviants such as interpreters, people with slippery, unformed identities, in whose company sprinklings of the irrational are more likely to insinuate themselves and further crook humanity’s already crooked timber.” His actions are off-kilter, not quite reasonable, nor perhaps justifiable, though it is not impossible – highly likely even – that we are being given a portrait of a madman. Other languages apparently do that sort of thing to you.

The Interpreter was interesting enough but didn’t, for me, reach the same heights that New Finnish Grammar, The Last of the Vostyachs, or even Marani’s immediately preceding novel, God’s Dog, did.

Pedant’s corner:- “the presence of their austere forms in that house were so many pointers” (strictly, the presence … was,) “his voice rising to a crescendo” (sigh. The crescendo is the rise, not its climax,) focussing (focusing,) enthrall (enthral,) hung (hanged, but it was in a letter,) Voivodina (usually spelled Vojvodina,) no quote mark at start of one paragraph where a character’s speech was continued, swum (swam,) “roads which lead” (which led,) Janos’ (x2, Janos’s,) sunk (x3, sank,) “now I could scarcely breath” (breathe,) “I was born aloft” (borne aloft,) “here in Munch” (Munich,) shell-incrusted (shell-encrusted,) “with brass lamps hanging from brightly painted beams and gleaming door handles” (the lamps hung from door handles?) “a cluster of coloured balloons were swaying in the wind” (a cluster was swaying.)

Dedalus, 2012, 166 p. Translated from the Italian L’ultimo dei vostiachi by Judith Landry.

Marani wrote one of the best novels I read last year – any year – New Finnish Grammar. His interest in Finland and its language is again in evidence here. In many ways this novel is the one which the title of New Finnish Grammar promised it would be. It may in fact be unique in having a plot which depends on comparative philology for its motor.

The titular last of the Vostyachs is Ivan, survivor of a gulag in which, twenty years before, his father was killed trying to escape. For all those years, until the guards quit due to lack of pay and left the gates open for the inmates to wander off, Ivan did not speak. He is a misfit in the locality, communes with animals and believes the wolves are other Vostyachs who changed form to evade the world and cannot get back. Olga, a Russian linguist studying the Samoyedic languages thereabouts is asked to help understand what he says. She recognises his speech as Vostyach, the long thought extinct oldest language of the Proto-Uralic family, a kind of linguistic missing link between Eskimo-Aleut and Finno-Ugric.

Trusting to his scientific curiosity, she writes to tell Professor Jarmo Aurtova, organiser of an imminent Finno-Ugric conference in Helsinki, of her discovery, making great play of Ivan’s velar fricatives and retroflex palatals, his use of the fricative lateral and labiovelar appendix. (Somewhat improbably, given the time scale involved, she suggests to Aurtova, “Perhaps your ancestors included some Sioux chief who fought at Little Big Horn!”) She tells him Ivan has problems with the modern world, does not like aeroplanes in particular, so while she attends a meeting in St Petersburg she will despatch him by train to Helsinki, and asks Aurtova to meet him at the station.

Aurtova has a portrait of Finnish wartime leader Marshal Mannerheim on his wall and thinks Finland and Finnish the pinnacle of human development, that Finns were the first Europeans, connected to neither Mongols nor Eskimos. As a result he does not take kindly to the prospect of a living rebuke to his beliefs. The scene is set for a tragedy, played out in the coldest night in Helsinki for fifty years and involving the release of animals from Helsinki zoo.

This may seem forbidding but the novel flows extremely smoothly and, despite the instances of linguistic vocabulary, is very easy to read. Marani creates compelling characters, can structure and tell a story and the translation (with a couple of exceptions*) serves him very well.

Marani has Olga express the preciousness of a language. During their encounter within the book she tells Aurtova that Vostyach has a word, powakaluta, for “something grey glimpsed vaguely running through the snow,” a word which will vanish if Vostyach does – though the thing it describes will not. And that disappearance would be terrible. She also reminds him that Finnish doesn’t have a future tense. (Something which is apparently common. English hasn’t, but can utilise an auxiliary verb to enable one.)

If I have any criticisms it is that the book may be romanticising slightly both Ivan’s relationship with nature and that of native North Americans and that Aurtova’s actions are perhaps a little unbelievable.

The Last of the Vostyachs was a delight to read just the same.

*The issues with the translation were firstly that ice hockey isn’t played on a pitch and its scoring system does not have points, “a few points short of victory,” plus the sentence, “One of the six thousand languages still spoken on this earth die out every two weeks.” Dies, surely? In a book dealing with philology, it’s perhaps as well to nail down the grammar. And that “ancestors” isn’t the correct word; “many times removed cousin” is nearer the mark.

Dedalus, 2012, 378p. Translated from the Italian, Nuova Grammaticae Finlandese, by Judith Landry.

To someone like me – obliged to learn Latin at school, but nevertheless enjoyed it, then dabbled very slightly in German and who subsequently learned the Finnish noun has umpteen cases (I remembered it as nineteen but it’s only fifteen) the attraction of a novel entitled New Finnish Grammar was irresistible. The fact that it was written by an Italian made it even more interesting. Diego Marani has himself invented an international auxiliary language, Europanto, perhaps partly as a joke.

Notwithstanding that, this is a very good book by any standard. It manages to overcome the disadvantage of a substantial lack of dialogue. Dialogue is normally a leavening and character revealing aspect of a piece of fiction, diluting the thickness of the prose. To restrict it is a brave decision for a novelist.

Pietri Friari, an exiled Finn working as a doctor for the German army in Trieste in 1941 has brought to him an injured sailor who has the name tag Sampo Karjalainen sewn on to his jacket and a handkerchief with the initials S K embroidered on it in his pocket. The sailor’s wounds have affected his memory and he does not know who he is nor even his nationality. Doctor Friari assumes his patient must be Finnish and sets out to teach him the rudiments of that language. The framing device has Friari find in Helsinki in 1946 the notebook where Sampo had written down his experiences since his time in Trieste. The main body of the text contains these reminiscences – edited for clarity: occasional sections in italics relate Friari’s thoughts and comments on them.

Throughout the early part of the book the thought kept nagging; in what language does Sampo think and why doesn’t Friari ask him? This would be a large clue to Sampo’s origins but the question is never asked in the novel. This is a minor quibble, though. Sampo’s predicament is intriguing enough to see us through.

I wasn’t expecting the book to be about Finnish grammar but in many ways it is, aspects of the language are mentioned frequently. It is also a short history of Finland in the mid-twentieth century and a primer on Finnish myths/legends. Arguably this is necessarily so, as anyone learning to be a Finn, as Sampo is, would need that backgrounding. The translator has had to cope with this too. She does it admirably but at one point puzzlingly used the German term panzer for a Russian tank.

While eschewing love and sex – two of the three perennial literary concerns; the third is death – New Finnish Grammar deals with another important aspect of humanity, belonging – or in this case not belonging, struggling to fit in. As such it is not merely about being Finnish but about being human.

Perhaps oddly for a novel whose driving force is memory loss this may be the most memorable book I’ll read all year.