���Ĵ�ý

As part of this week’s focus on Sergio Chejfec’s My Two Worlds (translated from the Spanish by Margaret Carson), we’re going to be running two interviews with Chejfec. Up first is about My Two Worlds. This is a great intro to the book, it’s origins, and what makes this novel so interesting.

Margaret Carson: I���Ĵ�ý�ve heard the novel described as the story of a man visiting an unnamed city in Brazil who walks to a park and wanders around its interior. It���Ĵ�ý�s that, but it���Ĵ�ý�s also so much more. If someone asked you what My Two Worlds was about, what would you say?

Sergio Chejfec: I don���Ĵ�ý�t think there���Ĵ�ý�s much more to add. I would say that the walk itself allows this character to have thoughts related to his past and his milieu (social, historical, cultural, etc.), and that as he keeps walking, he recovers experiences related to themes such as one���Ĵ�ý�s heritage, city landscapes, urban conditions in the Third World, the Holocaust, representations of nature, etc. But the truth is, I���Ĵ�ý�m uneasy with these kinds of lists because I don���Ĵ�ý�t believe they describe what in my mind is essential: the story wants to depict the development of a thought, and the main character finds excuses or reasons in what he sees to become reflective. But he���Ĵ�ý�s also aware that he lacks strong opinions, and that it���Ĵ�ý�s hard for him to arrive at any definitive conclusions. I���Ĵ�ý�d say the novel is an attempt to navigate through interconnected episodes, stories in miniature, small in scale. It���Ĵ�ý�s as if these scenes were simplified to the extreme, like cells of possible scenes that weren���Ĵ�ý�t developed.

MC: Could you talk about how you began work on the novel? Did you start with a certain idea or plan? How did the novel evolve?

SC: I don���Ĵ�ý�t have much faith in linear stories. My novels don���Ĵ�ý�t move ahead because a crisis or enigma has been resolved, or because of a more or less conventional development of a drama or action. Since I don���Ĵ�ý�t tell ���Ĵ�ý�stories,���Ĵ�ý� my novels are planned differently. They start with simple situations (in this case, for example, a walk through an unknown park) and they narrate a sequence of events that occur within that frame. The idea behind My Two Worlds was to write an essay about turning fifty. As I say at the beginning, two books by writer friends had come out, both dealing with this theme, but with different results. And I wanted to ���Ĵ�ý�fight���Ĵ�ý� a bit with them. I wanted to offer my version of turning fifty, and then devote myself to discussing their books and how they talked about their fifty years. But in the end that plan came to nothing, because I began to think it was enough to offer my version, or maybe because after I���Ĵ�ý�d done that, I no longer wanted to mark my differences with them, since they were obvious. And something else is essential: from the outset I conceived of this novel as reflexive, or essayistic. It���Ĵ�ý�s a fairly habitual characteristic in my books.

You can read the complete interview at the