Romanian exile Norman Manea's internationally acclaimed memoir/novel, now available to English-language readers At the center of The Hooligan's Return is the author himself, always an outcast, on a bleak lifelong journey through Nazism and communism to exile in America. But while Norman Manea's book is in many ways a memoir, it is also a deeply imaginative work, traversing time and place, life and literature, dream and reality, past and present. Autobiographical events merge with historic elements, always connecting the individual with the collective destiny. Manea speaks of the bloodiest time of the twentieth century and of the emergence afterward of a global, competitive, and sometimes cynical modern society. Both a harrowing memoir and an ambitious epic project, The Hooligan's Return achieves a subtle internal harmony as anxiety evolves into a delicate irony and a burlesque fantasy. Beautifully written and brilliantly conceived, this is the work of a writer with an acute understanding of the vast human potential for both evil and kindness, obedience and integrity.
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Norman Manea is Francis Flournoy Professor of European Culture and writer-in-residence at Bard College. Deported from his native Romania to a Ukrainian concentration camp during World War Two, he was again forced to leave Romania in 1986, no longer safe under an intolerant Communist dictatorship. Since arriving in the West he has received many important awards, including, in 2016, Romania's highest distinction, the the Presidential Order "The Romanian Star" in the highest level, of Great Officer. His work has been translated into more than twenty languages. He lives in New York City. Angela Jianu is a translator and historian. She teaches at University of Warwick, UK.
| PRELIMINARIES.............................................................. | |
| Barney Greengrass.......................................................... | 3 |
| Jormania................................................................... | 11 |
| The Circus Arena of Augustus the Fool...................................... | 20 |
| Addresses from the Past (I)................................................ | 26 |
| The New Calendar........................................................... | 33 |
| The Claw (I)............................................................... | 45 |
| THE FIRST RETURN (THE PAST AS FICTION)..................................... | |
| The Beginning before the Beginning......................................... | 59 |
| The Hooligan Year.......................................................... | 67 |
| Bukovina................................................................... | 78 |
| Chernobyl, 1986............................................................ | 85 |
| Within a Budding Grove..................................................... | 103 |
| Nomadic Language........................................................... | 115 |
| The Stranger............................................................... | 119 |
| Bloomsday.................................................................. | 126 |
| The Escape................................................................. | 128 |
| Addresses from the Past (II)............................................... | 134 |
| Maria...................................................................... | 138 |
| Long Live the King!........................................................ | 140 |
| Utopia..................................................................... | 145 |
| Periprava, 1958............................................................ | 166 |
| The Functionary............................................................ | 177 |
| The Departure.............................................................. | 184 |
| The Night Shift............................................................ | 194 |
| The Snail's Shell.......................................................... | 200 |
| The Claw (II).............................................................. | 209 |
| THE VIENNESE COUCH......................................................... | |
| Anamnesis.................................................................. | 223 |
| THE SECOND RETURN (POSTERITY).............................................. | |
| En Route................................................................... | 251 |
| Day One: Monday, April 21, 1997............................................ | 256 |
| Day Two: Tuesday, April 22, 1997........................................... | 274 |
| Nocturnal Language......................................................... | 288 |
| Day Three: Wednesday, April 23, 1997....................................... | 294 |
| Day Four: Thursday, April 24, 1997......................................... | 301 |
| Nocturnal Interlocutors.................................................... | 306 |
| Day Five: Friday, April 25, 1997........................................... | 315 |
| The Home Being............................................................. | 322 |
| Day Six: Saturday, April 26, 1997.......................................... | 327 |
| Day Seven: Sunday, April 27, 1997.......................................... | 340 |
| Night Train................................................................ | 346 |
| Day Eight: Monday, April 28, 1997.......................................... | 349 |
| Day Nine: Tuesday, April 29, 1997.......................................... | 354 |
| The Longest Day: Wednesday, April 30, 1997................................. | 360 |
| The Penultimate Day: Thursday, May 1, 1997................................. | 374 |
| The Last Day: Friday, May 2, 1997.......................................... | 380 |
Barney Greengrass
The bright spring light, like an emanation from Paradise, streamsthrough the large picture window wide as the room itself. Thereis a man in the room, looking down from his tenth-floor apartment at thehubbub below, at the buildings, the shop signs, the pedestrians. In Paradise,he must remind himself again this morning, one is better off thananywhere else.
Across the street is a massive red-brick building. His eye catchesgroups of children going through their paces in dance and gym classes.Yellow lines of taxicabs, stuck in traffic at the juncture of Broadway andAmsterdam Avenue, are screaming, driven mad by the morning's hystericalmetronome. The observer, however, is now oblivious to the tumultbelow, as he scrutinizes the sky, a broad expanse of desert across whichdrift, like desert beasts, slow-moving clouds.
Half an hour later, he stands on the street corner in front of theforty-two-story building where he lives, a stark structure, no ornamentation,a simple shelter, nothing less, or more, than an assemblage ofboxes for human habitation. A Stalin-era apartment block, he thinks.But no Stalinist building ever reached such heights. Stalinist nonetheless,he repeats to himself, defying the stage set of his afterlife. Will hebecome, this morning, the man he was nine years ago, when he first arrivedhere, bewildered now, as he was then, by the novelty of life afterdeath? Nine years, like nine months brimming with novel life in thewomb of the adventure giving birth to this brand-new morning, like thebeginning before all beginnings.
On the left, the drugstore where he regularly buys his medicines. Heis idly looking at the store's sign—RITE AID PHARMACY, spelled out inwhite letters on a blue background—where suddenly five fire engines,like metallic fortresses, advance on the street in a screech of sirens andhorns. Hell's fires can rage in Paradise, too.
But it is nothing serious, and in an instant everything is back inplace—the photo shop where he is having the photo for his new IDprocessed; the neighborhood diner; the local Starbucks; and, of course, aMcDonald's, its entrance graced by a pair of panhandlers. Next come thePakistani newsstand, the Indian tobacconist, the Mexican restaurant,the ladies' dress shop, and the Korean grocery, with its large bunches offlowers and displays of yellow and green watermelons, black and red andgreen plums, mangoes from Mexico and Haiti, white and pink grapefruit,grapes, carrots, cherries, bananas, Fuji and Granny Smith apples,roses, tulips,...
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