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"Georgi Gospodinov wants to blow your mind—or maybe just provide the ultimate bathroom reader. . . . The formal playfulness suggests Kundera with A.D.D. and potty jokes."—Ed Park, The Village Voice
A finalist for both the Strega Europeo and Gregor von Rezzori awards (and winner of every Bulgarian honor possible), The Physics of Sorrow reaffirms Georgi Gospodinov's place as one of Europe's most inventive and daring writers.
Using the myth of the Minotaur as its organizing image, the narrator of Gospodinov's long-awaited novel constructs a labyrinth of stories about his family, jumping from era to era and viewpoint to viewpoint, exploring the mindset and trappings of Eastern Europeans. Incredibly moving—such as with the story of his grandfather accidentally being left behind at a mill—and extraordinarily funny—see the section on the awfulness of the question "how are you?"—Physics is a book that you can inhabit, tracing connections, following the narrator down various "side passages," getting pleasantly lost in the various stories and empathizing with the sorrowful, misunderstood Minotaur at the center of it all.
The Physics of Sorrow will appeal to fans of Dave Eggers, Tom McCarthy, and Dubravka Ugresic for its unique structure, humanitarian concerns, and stunning storytelling.
Georgi Gospodinov's Natural Novel was published by Dalkey Archive Press in 2005 and was praised by the New Yorker, New York Times, and several other prestigious review outlets.
Angela Rodel won a PEN Translation Fund Grant in 2010 for Georgi Tenev's short story collection. She is one of the most prolific translators of Bulgarian literature working today and received an NEA Fellowship for her translation of Gospodinov's The Physics of Sorrow.
- Sales Rank: #677966 in eBooks
- Published on: 2015-03-16
- Released on: 2015-03-16
- Format: Kindle eBook
Review
"A reinterpretation of ancient Greek myth, a celebration of story telling, a treatise on nostalgia and aging, a collection of insights into the nature of time, The Physics of Sorrow has it all."—Randy Rosenthal, Tweed's Mag
“[The] real quest in The Physics of Sorrow is to find a way to live with sadness, to allow it to be a source of empathy and salutary hesitation… Chronicling everyday life in Bulgaria means trying to communicate Bulgarian “sadness,” which is—to the extent that these things can be disentangled—as much a linguistic as a metaphysical dilemma” —Garth Greenwell, The New Yorker
"Bulgarian writer Georgi Gospodinov’s The Physics of Sorrow unites formal experimentation with emotional resonance in a compelling exploration of how and why humans tell stories … Gospodinov ruminates on the mazelike structures of the human brain, of cities, and of books themselves … [and] juxtaposes the grotesque and the beautiful… at once concrete and transcendent … Both an intellectual game and a very human story, The Physics of Sorrow captivates."—Elizabeth C. Keto, The Harvard Crimson
"Gospodinov’s THE PHYSICS OF SORROW offers up a beautiful exploration of the inescapable maze-like nature of life. . . . [it] reminds us that we must never forget that we are not alone. We must never lose sense of who we are, who we were, where we come from, and where we’re going. And we must never stop sharing the resulting stories of our wondrous explorations with the world at large because we must allow ourselves to feel everything or be doomed to feel nothing at all." —Aaron Westerman, Typographical Era
"Gospodinov forces us to examine our own lives, expectations, and assumptions. He asks us to look outside of ourselves, to myth and family history and national history, to find meaning in a world that often seems cruel and cold. A mixture of grim humor, keen self-reflection, and even a bit of dogged optimism, The Physics of Sorrow is not to be missed." —Bookishly Witty
"A time-traveling empath, [Gospodinov] uses story to call us to look beyond ourselves to what can root us and give our lives meaning in a world that can seem crushingly cold and cruel." —Kristine Morris, Foreward Reviews
About the Author
Georgi Gospodinov was born in 1968 and is one of the most translated contemporary Bulgarian writers. His first novel, Natural Novel was published by Dalkey Archive Press in 2005 and was praised by the New Yorker, New York Times, and several other prestigious review outlets. A collection of his short stories, And Other Stories was published by Northwestern University Press. The Physics of Sorrow is his second novel.
Angela Rodel earned an M.A. in linguistics from UCLA and received a Fulbright Fellowship to study and learn Bulgarian. In 2010 she won a PEN Translation Fund Grant for Georgi Tenev's short story collection. She is one of the most prolific translators of Bulgarian literature working today and received an NEA Fellowship for her translation of Gospodinov's The Physics of Sorrow.
Most helpful customer reviews
7 of 8 people found the following review helpful.
Brilliant Literary Fiction
By Melissa Beck
In The Physics of Sorrow, the story of the narrator, Georgi, and his family are told through the lens of the ancient Greek myth of the Minotaur, the half-man, half-bull creature that inhabits the dark tunnels of a labyrinth. The story itself feels like a labyrinthine journey which the author leads us through; we feel like we are groping around in the dark, never sure to which style of writing the author will take us next. Sometimes we encounter a story about the narrator’s grandfather, at other times we are launched into a tale about the narrator himself. Short stories, anecdotes, memories, pictures and even lists are presented as part of the narrative.
Gospodinov uses the story of the Minotaur from Greek mythology to highlight three themes in his book: abandonment, isolation and misunderstanding. Jorge Luis Borges, in his short story “The House of Asterion,” provides us with the Minotaur’s perspective of his dwelling and his pathetic hope of eventual redemption. The Physics of Sorrow expounds on Borges’ characterization of the Minotaur as a creature who is worthy of sympathy and whose half-human, half-bull form are certainly not his fault. At some point in his young life Asterion, the Minotaur, must have been abandoned by his mother and placed in this dark, isolated and lonely labyrinth.
Georgi grows up in Socialist Bulgaria, which itself is an isolated and lonely place. The author points out that before 1989, 80% of Bulgarians had not left their native country. Georgi’s parents have good jobs, but due to the strict controls by the government on housing, his family lives in a cramped basement apartment, their own type of labyrinth. Georgi tells us that he is afflicted with the “Minotaur Syndrome.” Left alone from the age of six in this basement apartment he must fend for and amuse himself until the adults come home at the end of a long day.
Abandonment and isolation are situations which Georgi’s grandfather struggles with first in the story. At the age of three he is almost left behind by his mother at a mill and not until they are half-way home does one of his seven sisters realizes that he is missing. I held my breath at the vivid description of the toddler’s abandonment and thought “hurry up” as his sister raced back to gather the distraught and afraid little boy. The grandfather, who fights in World War II, also has one of the toughest choices to make in the novel: which of his two sons should be abandon because he cannot live with and raise both of them.
Georgi, the narrator, has an issue with truly getting close to a woman and shortly after his daughter is born he falls into a deep melancholy. At his doctor’s advice he travels and Europe itself becomes his labyrinth where he traverses from city to city and hotel to hotel trying to shake off his extreme gloominess. He abandons his family to try and save his sanity but he ends up isolating himself from the world even further. Georgi moves back into his boyhood home in the basement and now, living in this dark labyrinth all alone, the minotaurizing of himself has become complete. At the end of the novel he tries to use the language of quantum physics to describe, sort out and even deal with his sorrow.
The greatest lesson we can take from The Physics of Sorrow is one of empathy and compassion. At one point in the book the Minotaur is put on trial and given his day in court to defend himself against the charge of being a violent monster. He is half-man and half-human and therefore never able to fully fit into to any society, man or animal. This book shed a whole new perspective for me on the story of the Minotaur and the country of Bulgaria which, to be quiet honest, I have never really given a second thought.
3 of 3 people found the following review helpful.
Although there were some very brilliant passages, I could not get into the book ...
By Bookbird
A previous reviewer said this book is not for everyone. It is not for me. It is billed as a novel, but it is more of an imaginative memoir. The author tells stories of his family, revisits the idea of the labyrinth: from the one that contained the Minotaur to the one in our ears and everywhere in between. Although there were some very brilliant passages, I could not get into the book and stopped reading when I could not read one more word. It was too rambling and not at all a novel. There was no sense of "story."
2 of 2 people found the following review helpful.
Unique, Demanding, and Remarkable
By bonnie_blu
4.5 Stars.
This book is most definitely not for everyone. It demands a serious investment by the reader, who must focus on the content, structure, and intent of the novel with a devotion rarely needed in works of fiction. In my opinion, "The Physics of Sorrow" is well worth the effort. Gospodinov uses his family's experiences and the tale of the minotaur to explore human existence, the meaning of life, and the nature of sorrow. The book travels backward and forward through time and changes viewpoints, often without warning. However, this very structure forces the reader out of his/her comfortable worldview, and succeeds in building a world in which the reader is compelled to confront what it means to be a human living (and dying) in the world we thought we knew. It is a remarkable work.
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