by Madhu Kaza
It’s cold outside. New York City is probably exciting as ever out there, but I’m staying in with my soup and my soup spoon and all of the spoons, with books listing this way and that on the shelves, socks and sweaters stuffed into drawers, stray paperclips on the loose, dust storms gathering behind the sofa and an African stone egg that's warming either under my pillow or somewhere under my bed. It would all be uneventful, except that I’ve been rereading Michal Ajvaz’s novel, The Other City.
The Other City begins with the narrator taking refuge from a snowstorm in a bookstore in Prague. Through a series of magical encounters that follow, the novel leads us into “the other city,” which exists as a shadow city just beyond the Prague that is known. The Other City is a labyrinthine and fantastical place where books turn into jungles, the alphabet becomes a virus, oysters attack cities, and fish battle inside glass statues. Through the layering and pile up of surreal imagery Ajvaz conjures a world that is wonderful and terrible, a place of awe.
Though it’s a strange place the Other City is not inaccessible or distant. Ajvaz insists that if we truly learned how to look and pay attention we’d find that we are right at the edge of otherness: “The frontier of our world is not far away; it doesn’t run along the horizon or in the depths. It glimmers faintly close by, in the twilight of our nearest surroundings; out of the corner of our eye we can always glimpse another world, without realizing it.” He notes that we overlook the nooks and crannies, the closets and the dusty spaces of our homes or between our homes where things are happening:
Even inside the space we regard as our property there are places that lie beyond our power, lairs inhabited by creatures whose home is over the border. We are familiar with the strange queasiness we feel when we encounter the reverse side of things, and their inner cavities which refuse to take part in our game: when we shove aside a cabinet during spring-cleaning and we suddenly find ourselves looking at the ironically impassive face of its reverse side, which stares into dark chambers that are mirrored on its surface, when we unscrew the back of the television set and run our fingers over the tangle of wires, when we crawl under the bed for a pencil that rolled away and we suddenly find ourselves in a mysterious cavern, whose walls are covered with magical, trembling wisps of dust, a cavern in which something evil is slowly maturing until one quiet day it will emerge into the light.
Ajvaz tells us not only that is there a world unfolding from the perspective of the spoons in a drawer, the backside of the cabinet, or the space between walls in an apartment, but also that encounters with this world can be frightening. “Every genuine encounter destroys our existing world,” says the narrator. What counts as a genuine encounter must be terrifying because it puts us in contact with the unknown; it makes the familiar strange.