trans. by Thomas Bunstead

PORTRAIT OF AN UNKNOWN LADY

Gainza, María Trans. by Thomas Bunstead Catapult (192 pp.) $24.00 | March 22, 2022 978-1-64622-032-8

An art critic chases the identity of a legendary forger through the testimonies of the aging counterculture denizens who knew her.

In 1960s Buenos Aires, a group of “tatty bohemians” take up residence in a decaying mansion they’ve dubbed the Hotel Melancholical. Among the poets, painters, photographers, translators, and philosophers that make up the heady menagerie is a hypnotically charismatic, flinty-eyed woman named Renée who is an accomplished art forger, specializing in the works of (real-life) Austrian Argentine portraitist Mariette Lydis. The hotel’s residents all have a role in the scheme—from forging the labels on the backs of paintings to publicizing the pieces to Buenos Aires galleries—and they all split the resulting profits, but they need somebody on the inside to provide the final touch: a certificate of authenticity from the art valuations department of the Ciudad Bank. This is managed by Enriqueta, Renée’s friend and fellow student at Argentinean Fine Arts Academy, who uses her position to pass along Renée’s forgeries for years until Renée, always a mercurial figure, drops out of the art scene and then out of sight entirely. Or at least this is what Enriqueta tells her new assistant, our narrator, who opens the novel many years later holed up in the Hotel Étoile, where she has retreated to write the story of the indomitable Enriqueta, known at the end of her long career at the bank simply as “Herself”; the fabled Renée, whose life the narrator pieces together through the contradictory accounts of her now-octogenarian cohort; and Mariette Lydis, whose actual story rivals anything that could be invented for her. Gainza’s expertise in the world of art criticism, with its cultivated language and capricious moods, and her loving eye for the history, architecture, and people of Buenos Aires are on display in this book, as they were in her debut, Optic Nerve (2019). As fine as that novel was, however, the nuance in the way this story develops, wending its way through its layers of plot, history, and biography even as it spotlights the unflinching women who stalk through them all, is the work of an author in full command of her talents. The result is an exploration of identity and authenticity that asks what it means to be “real,” as the term is applied either to a work of art or to a life.

Subtle, incandescent, and luminous—a true master’s work.

SCHOOL DAYS

Galassi, Jonathan Other Press (224 pp.) $25.00 | April 5, 2022 978-1-63542-189-7

Boarding school life and loves in the 1960s. Sam Brandt, the protagonist of wellknown editor and poet Galassi’s second novel, is an alumnus of Leverett, a Connecticut boarding school that had “always exuded an aura of meritocratic rather than purely pecuniary elitism.” Some 20 years after graduation he returns to the school to teach English. When the Head of School receives a claim of longago sexual abuse from one of Sam’s classmates, he asks Sam to investigate the accusation against former faculty member Theo Gibson, “the most inventive, demanding, popular teacher in the school” and someone who served as Sam’s “sounding board and source of wisdom.” The novel shifts into a lengthy flashback from Sam’s perspective, describing the complicated choreography of sexual desire at the school in its final years as a male-only institution, and specifically how students like him were forced by the mores of the time to suppress any overt expression of their desire, as “love among the boys was tacitly acknowledged and rigorously guarded against.” In Sam’s case, that included an intense, but utterly chaste, relationship with Eddie Braddock, a “dazzling, combustible kid” in Sam’s eyes. He was “desperate for