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In Aira���Ĵ�ý�s Shantytown, while we���Ĵ�ý�re inside the characters���Ĵ�ý� heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he���Ĵ�ý�s writing. (Of course we are reading the words of Chris Andrews. This is his fifth Aira translation; he has perfected a beautifully baroque, rambling English to represent Aira���Ĵ�ý�s Spanish.) An Aira novel is characterized by an intellectual obsession, usually with some abstract concept, like ���Ĵ�ý�twins���Ĵ�ý� (in The Hare) or ���Ĵ�ý�originality���Ĵ�ý� (in ��á��������). Around this abstraction���Ĵ�ý�which is never named outright���Ĵ�ý�Aira spins a plot that lets him explore it in many aspects; the novels work best when the plot goes wildly far afield but continues to resonate with the concept in deep and unexpected ways. In Shantytown, the concept is something like ���Ĵ�ý�sensitivity,���Ĵ�ý� in the broad and multiple senses of emotional intelligence, pattern recognition, awareness of surroundings. A noir plot, where nothing is clear and everything is suspect, fits this theme well: the reader is forever on the run, fleeing forward with Aira, trying to get a fix on what���Ĵ�ý�s happening.

The central axis of the book is a road: Calle Bonorino, with a rich neighborhood of apartments and shops at one end and a shantytown at the other. Maxi, a high schooler from the rich end, helps the trashpickers and cardboard collectors from the shantytown cart their booty home. His foil is Cabezas, a police inspector gone rogue after his daughter is killed:

The gulf between the two men was evident in the forms of their respective enterprises, which although superposed were incompatible. Maxi���Ĵ�ý�s was linear, an adventure open to improvisation, like a path disappearing into the distance. The inspector���Ĵ�ý�s enterprise, by contrast, resembled the deciphering of a structure.

Add in drug dealers (���Ĵ�ý�proxidine���Ĵ�ý� gives its user the sense that all distance has been abolished), rich families employing shantytown maids, and a suspicious priest, and all the elements are in place for a glorious and confusing mess. At the climax, in an epochal rainstorm, details are literally flooded out.

So much for the plot. But geography is not just a metaphor in Shantytown; the characters themselves can���Ĵ�ý�t see details clearly. Maxi seems to be emotionally dulled or turned inward, perhaps on the autistic spectrum; he tells his love interest (although even that is weirdly deflected, in a mirror): ���Ĵ�ý�Either you think about other people, or you pay attention to your surroundings. You can���Ĵ�ý�t do both at the same time.���Ĵ�ý� Aira the narrator can, though���Ĵ�ý�and he frequently puts the narrative on hold for thematic mini-essays:

Outsiders never went there [the shantytown], for a number of reasons, which all came down to one thing: fear. It���Ĵ�ý�s true that there was no real reason why outsiders would want to go there in the first place. But that was a part of the fear. And fear is the key to all places: social, geographical, even imaginary. It is the matrix of places, bringing them into existence and making it possible to move from one to another. Being or not being in a place depends on a complex system of actions, and it is well known that action engenders and nourishes fear.

It���Ĵ�ý�s this narrative perspective, self-aware but never cheaply ironic, that makes Aira such a blast to read. Aira has written scores of short novels in Spanish; New Directions has published nine translations so far, with a tenth due later this year. Aira fans thus get to witness the larger adventure of Aira���Ĵ�ý�s narrative invention itself���Ĵ�ý�and this book in particular has a lot to say on that theme. Late in the novel, Cabezas feels trapped: ���Ĵ�ý�He had to keep fleeing forward, but to where?���Ĵ�ý� Aira���Ĵ�ý�s compositional technique���Ĵ�ý�never changing anything once it is set down, only adding later deflections and specifications���Ĵ�ý�is referred to as ���Ĵ�ý�flight forward���Ĵ�ý�; I���Ĵ�ý�ll bet this is the source of that phrase.

Joan Didion famously wrote, ���Ĵ�ý�We tell ourselves stories in order to live.���Ĵ�ý� Aira���Ĵ�ý�s claim is similar:

People always assume that to improvise is to act without thinking. But if you do something on an impulse, or because you feel like it, or just like that, without knowing why, it���Ĵ�ý�s still you doing it, and you have a history that has led to that particular point in your life, so it���Ĵ�ý�s not really a thoughtless act, far from it; you couldn���Ĵ�ý�t have given it any more thought: you���Ĵ�ý�ve been thinking it out since you were born.

Aira���Ĵ�ý�s worlds always have something of the noir to them. We���Ĵ�ý�re always trying to decipher the structures, get things down in black and white; we���Ĵ�ý�re often frustrated, yet still compelled to follow the thinnest, most unpromising narrative thread towards a distant possible exit. At least there aren���Ĵ�ý�t always bodies piling up.

The world is full of moral ambiguity, with no clear good or bad. Stiffs (and occasionally corpses) continue to pile up left and right. That���Ĵ�ý�s just the daily news���Ĵ�ý�hell, it���Ĵ�ý�s the whole world, whether it���Ĵ�ý�s a geopolitical or a neighborhood clusterfuck. So the narrative voice is what makes The Mongolian Conspiracy and Shantytown noir? But the pull of the voice applies to César Aira���Ĵ�ý�s other novels, to half the books I read���Ĵ�ý�it doesn���Ĵ�ý�t even have to be a tale of crime, just something human and murky, with a faint light of hope.

Maybe noir doesn���Ĵ�ý�t really mean anything after all. Maybe nothing does. Maybe that���Ĵ�ý�s the whole point.