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A haunting novel of suspense from the winner of the 2014 Nobel Prize in Literature
In the stillness of his Paris apartment, Jean Daragane has built a life of total solitude. Then a surprising phone call shatters the silence of an unusually hot September, and the threatening voice on the other end of the line leaves Daragane wary but irresistibly curious. Almost at once, he finds himself entangled with a shady gambler and a beautiful, fragile young woman, who draw Daragane into the mystery of a decades-old murder. The investigation will force him to confront the memory of a trauma he had all but buried. With So You Don’t Get Lost in the Neighborhood Patrick Modiano adds a new chapter to a body of work whose supreme psychological insight and subtle, atmospheric writing have earned him worldwide renown — including the Nobel Prize in Literature. This masterly novel, now translated into twenty languages, penetrates the deepest enigmas of identity and compels us to ask whether we ever know who we truly are.
- Sales Rank: #381158 in Books
- Published on: 2015-09-15
- Released on: 2015-09-15
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .70" w x 5.70" l, .0 pounds
- Binding: Hardcover
- 160 pages
Review
"Modiano is an ideal writer to gorge on ... in part because [his books] make up a system as beguiling and complete as any in contemporary literature ... [So You Don't Get Lost in the Neighborhood] set[s] up a moody, delectable noir."—The New Yorker
"A suspenseful inquiry into memory and storytelling, including the stories we tell ourselves about our own lives. It’s the best kind of mystery, the kind that never stops haunting you. A–."—Entertainment Weekly
"[Modiano's] fiction resonates so deeply [because] it occupies an elusive middle ground between place and personality ... Resonant ... Compelling."—Los Angeles Times
"Euan Cameron's atmospheric translation does ample justice to this spectral tale."—Independent
"There is intrigue, there are missing persons, there are affairs of the heart and body ... The beauty of [Modiano's] prose shines once again in this deep, short read."—Paste
"Moody ... Lyrical ... Vintage Modiano, and a pleasure for fans of neonoir fiction."—Kirkus Reviews
From the Inside Flap
A haunting novel of suspense from an acclaimed literary master
In the stillness of his Paris apartment, Jean Daragane has built a life of total solitude. Then a surprising phone call shatters the silence of an unusually hot September, and the threatening voice on the other end of the line leaves Daragane wary but irresistibly curious. Almost at once, he finds himself entangled with a shady gambler and a beautiful, fragile young woman who draw Daragane into the mystery of a decades-old murder. The investigation will lead him to confront the memory of a trauma he had all but buried.
With So You Don’t Get Lost in the Neighborhood, his first publication since winning the 2014 Nobel Prize in literature, Patrick Modiano adds a new chapter to a body of work whose supreme psychological insight and subtle, atmospheric writing have earned him worldwide renown. This intense, sinuous novel, now translated into twenty-five languages, penetrates the deepest enigmas of identity and compels us to ask whether we ever know who we truly are.
From the Back Cover
“Readers new to Modiano, drawn in by the Nobel Prize, will enter a universe unlike any other and will remain forever captive to its enchantments.” — Figaro
“Modiano’s attraction comes from his style, which is laconic and beautiful but also quite accessible . . . I devoured all of his books.” — Alice Kaplan, author of Dreaming in French
“An author with a virtuoso’s command of language, equally at ease with the simple and the complex, the precise and the evocative.” — New York Review of Books
“Modiano’s most recent novel is a work of melancholic beauty . . . Sincere, shattering, magnificent.” — L’Express
“A small gem . . . Immediately striking and affecting.” — Elle France
Most helpful customer reviews
32 of 34 people found the following review helpful.
reference points in shifiting sand
By Thomas F. Dillingham
While Patrick Modiano's novels often provide the pleasures of a good detective story, with the frustrations and pleasures of tracking bits of evidence to their sources and seeking their significance. the real subject of many of his novels is the uncertainty, instability, indeed the untrustworthiness of memory. In case we forget, he reminds us through his characters that we regularly forget, often because, whether consciously or absent-mindedly, we prefer to dismiss or repress memories that are inconvenient or uncomfortable. In this novel, the central character, Daragane, receives a phone call from a stranger, telling him that the stranger has found an address book that he believes Daragane must have lost. He offers to return it, and this sets in motion a process of recovery not only of the outdated address book, but of memories of childhood that Daragane might just as soon have left in the dark recesses of memory.
As we expect from Modiano, the evocations of places and of more or less mysterious people, some of whom the narrator encounters for the first time, others, to his surprise, are familiar from his past, are all presented with precise details that make us feel we could walk through Paris streets and encounter the same images. And the shocks of "retrieved" memory are almost as sharp for readers as they are for the narrator who does not expect them.
This is the eleventh of Modiano's novels that I have read, though only the third that I have read in English translation. On the whole, I prefer reading his work in French, since the connotations of so much of his language, especially in dialogue and descriptions of places, feel much more evocative, but this translator has done a good job of conveying the peculiarities of Modiano's style. One warning for readers of detective fiction may be in order--though Modiano uses the techniques and some of the standard motifs of detective fiction, one thing he rarely does is supply a solution. We are often left on the final page still stumbling in that "shifting sand," with a continued sense of foreboding. It's possible to "figure out" on one's own, but seldom to feel confident that the "answer" has been found. Who was that man who returned the address book?
Modiano is always intriguing, often exasperating, but in a good way. I recommend this.
19 of 21 people found the following review helpful.
The mystery of memory is explored in this short novel.
By Russell Fanelli
I had not read any of Nobel Prize winning author Patrick Modiano’s work so I thought this new mystery novel was a good place to start. I was wrong. Calling So You Don’t Get Lost in the Neighborhood a mystery novel is more than a stretch; it is false advertising. Yes, an unsolved murder did happen long ago and far away, but our main character, Jean Daragane, an elderly writer, never systematically investigates the crime and no resolution is forthcoming.
Instead, Jean goes “in search of lost time.” At the very beginning of the novel Gilles Ottolini, a minor character who soon disappears, calls Jean to tell him that Gilles has found Jean’s address book. Jean agrees to meet Gilles at a cafe to retrieve his book. Gilles’ friend Chantal, who plays an important role in the first half of the novel, accompanies Gilles to the rendezvous. When they meet, Gilles asks Jean to help him get information about a very old news item. Jean tells Gilles that he remembers little about any of the people involved in the news story and gets up and leaves. But Gilles is persistent and calls Jean to continue to ask for his help. When Gilles leaves to go to a casino, Chantal becomes his intermediary and continues to interact with Jean.
This somewhat confused and not very interesting start to the novel is important only to begin Jean’s search in his memory for his past as a young child growing up in Paris. Now our author Modiano is on more comfortable ground. Jean begins to remember various people and events that took place when he was a child. He revisits old neighborhoods and talks with people who have some knowledge of his friends and family. Slowly his memory returns and we meet important people who played a major role in his upbringing.
Memory is often a mystery and must be approached with care and caution. How certain are we that what we remember actually occurs in the way we imagine? The events from our past that shape who we are as people may be muted or exaggerated, but rarely will they be an accurate representation of what actually happened. And so it is with Jean, who keeps digging deeper and deeper into his past and the strange events that became so important a part of his formation as a person.
So You Don’t Get Lost in the Neighborhood may not be a mystery in a traditional sense, but it does explore well the mystery of memory. Many readers may enjoy Jean’s walk down memory lane. Patrick Modiano is a skillful writer who engages our attention and involves us in Jean’s search. This is a short novel and I found that I was somewhat surprised that the story ended so soon and so unexpectedly. I think three and a half stars represents well my overall response to this novel. Recommended with reservations noted.
3 of 3 people found the following review helpful.
Modiano continues to practice his own form of 'counter realism'
By Arheddis Vaarkingjaab
Modiano's narratives are uniquely convoluted with a shifting timeline that dances back and forth over as many as 50 years. In this case, the central character becomes involved with mysterious people who seem to come out of his past experience and force him to relive his own history against his tendency to retire into his isolation. As one reads, he finds himself thumbing back to refresh memory about a particular person or event in much the same way as the protagonist is doing. Like other Modiano works, "So You Don't Get Lost" is more about how fiction works in relation to autobiography than about any particular subject or action. "Painterly" is the term that comes to mind, and one is reminded of some of Samuel Becket's work, as well as Robbe Grillet and other avantguarde writers of the late 20th century. This is literature as art form, not storytelling, or at least not storytelling of the sort we are accustomed to in more pedestrian fiction. I call it "counter realism," definitely worthy of his Nobel Prize.
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