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'It looks impossible to get out,' he says. And also: 'But we'll get out.'��
Two brothers, Big and Small, are trapped at the bottom of a well, stalked by madness and with no means of escape. Struggling for sustenance and clinging to sanity, Big forges a plan to free his little brother. Fast-paced and rich in metaphor, this extraordinary new story poses questions of fight, survival and solidarity when people are faced with devastation.
Powerful, disquieting and highly original, Repila's unique allegory explores with bravery and emotion the depths of human desperation and, ultimately, our almost unending capacity for hope.
- Sales Rank: #498837 in Books
- Published on: 2015-11-24
- Released on: 2015-11-24
- Original language: Spanish
- Number of items: 1
- Dimensions: 6.50" h x .40" w x 4.80" l, .16 pounds
- Binding: Paperback
- 112 pages
Review
"Repila's first book to be translated to English is a provocative and focused parable...�brief and brutal…�Hughes's vibrant translation aids Repila's lyrical descriptions of anguish and hope, and the narrative's intelligence and depth make it a gripping read." — Publishers Weekly
"short, intense. . . realism is not the order of the day, but rather the distorted, disturbing exaggerations of expressionism." — The Guardian
"A�story beguiling in its fairytale-like simplicity and absolute distance from any recognizable reality...�With shocking precision�The Boy Who Stole Attila’s Horse�reveals what happens when two innocent individuals are dispossessed of everything and made to live like terrorized animals.�Repila’s language, clogged with maggots and tumors, festering wounds and leaking brains, gives this book an overwhelming pungency (praise must be given to Sophie Hughes for a translation nimble enough to turn on a dime and powerful enough to knock us out with its startling images)." — BOMB Magazine
"The Boy Who Stole Attila’s Horse,�Iv�n�Repila’s second novel and his first to appear in English, is short, sharp and blackly humorous...�Sophie Hughes’ translation renders it with a brutal force...�The push-and-pull is essential. 'Small goes on dying for days, and his brother goes on keeping him alive. As if they were playing.' This is Repila’s game, and he’s good at it...�Repila moves again into that mad, semi-religious tone, that language of icons and saints, of fire and brimstone, and in the darkness shows us the sparks of an era to come." — Full Stop Magazine
"High art, an imaginative allegorical work of breathtaking yet restrained lyric power. . .�Repila’s prose is clinical, precise and beautiful. His sinuous, lilting Spanish has been magnificently rendered into English by Sophie Hughes in a faultless, rhythmic translation that enables the bleak narrative to soar like an epic poem." — Irish Times
"A fantastic first novel which made me literally plunge back into my dearest memories of childhood reading" - Librairie La Soupe de l'Espace
"Here is a story conceived to leave its mark, to be felt in the pit of one's stomach" - Librairie L'Ouvre-Bo�te
"This is a masterpiece concentrated into 110 pages...This is the sort of book that you don't put down, and leaves you with a knot in your stomach" - Clara Dupont-Monod, France Inter
"Suffocation and disgust are the dominant impressions, and yet... this book is a charm... Iv�n Repila's language is superb, it carries with it all the spells of fairytales with their ogres, wolves and evil stepmothers, but it also manages to evoke the much less fantastical universe of camps, prisons and caves where hostages waste away" - �ric Chevillard, Le Monde
"lyrical and realistic." - Zo� Vald�s
"You will emerge from it changed, grown up... an essential novel... a masterpiece" - La soupe de l'espace
"It's been a long time since I have read such an impressive book. With its rich and wise prose, combination of mannerism and enlightenment, this broken tale of what makes us tedious and atrocious is also a harsh song of love" - Tendencias 21
"A vivid novel, full of metaphors and symbols about cooperation, the effort to survive, the world's brutality, and solidarity. All things that remind us of present and universal circumstances" - Revista de letras
"A brutal, Beckett-like tale. Its end is cathartic, hopeful and violent. It is utopian, and reminds us that language is the only thing that can save us: because language is everything" - La Vanguardia
"A seemingly traditional story which works on different levels of reading. A precise novel, solid and disquieting, veiling a deep wisdom" - El Pa�s
About the Author
Iv�n Repila was born in Bilbao, Spain in 1978. He worked in advertising, graphic design and editorial, before turning to writing with his highly acclaimed debut novel, Despicable Comedy. Celebrated in his homeland Spain, and praised for the originality and depth of his prose, his second novel, The Boy Who Stole Attila's Horse, is his first book to appear in English.�
Translated from the Spanish by Sophie Hughes.
Most helpful customer reviews
0 of 0 people found the following review helpful.
The Boy Who Stole Attila's Horse
By J. Hamby
More than a bit dark (no pun is intended) slightly sly with a clever look at struggle, determination and bonds that strengthen and weaken and shatter when caught in situations that make hope thin and even damaging in its own way.
Rich in metaphor, it is a fast paced and lacks any filler or waste. This is a tight little tale that I think will leave plenty to think about. Ponder and perhaps even shift one's own perceptions. In just a few pages there is an emotional give and take that shows true talent as well as poignancy that underscores the tale in way that makes the ending, even if a surprise for some, highly rewarding.
0 of 0 people found the following review helpful.
The allegory went right over my head, so I leaped after it.
By KathLDK Literogo
Wonderfully translated from the original Spanish by Sophie Hughes, Iv�n Repila’s The Boy Who Stole Attila’s Horse is a quick but not easy read. It is a story of suffering and betrayal, of fraternal love and sibling rivalry, and some reviewers also argue that it is a macroeconomic and political allegory, based on the insertion of epigraphs from Margaret Thatcher and Bertolt Brecht.
The older brother is big. With his hands he digs up lumps of sand to form a step strong enough to hold him, but when he lifts himself up in the air the weight of his body defeats him and the wall breaks.
Two brothers, Big and Small, are trapped at the bottom of a well, stalked by madness and with no means of escape. Struggling for sustenance and clinging to sanity, Big forges a plan to free his little brother. Fast-paced and rich in metaphor, this extraordinary new story poses questions of fight, survival and solidarity when people are faced with devastation.
Small dreams about a swarm of butterflies and watches himself catch them with his long, retractable tongue. If they are white, they taste of bread; if they are pink or red, of fruit – a combination of strawberries and oranges; the green ones taste of mint and peppermint; if they are dark they don’t have a flavour – eating them is like licking windows.
At first it was difficult for me to grasp the allegory, and so I read it simply as a story about two boys who are trapped in a well. As their situation grows ever more dire, and they’re faced with impossible choices, like eating a dead bird or letting it rot so they can feed off the maggots instead, the metaphysical aspects become more and more elaborate. Small starts to go a bit mad, and his ravings have an eerie sense of truth to them. At this point, it became less believable (that a young boy would be discussing metaphysics and existentialism) and that was the point where I tried to appreciate the allegorical nature of the book.
“Once we are up there, we’ll throw a party.”
“A party?”
“Yes.”
“The kind with balloons and lights and cakes?”
“No. The kind with rocks, torches and gallows.”
As far as I understand it, the allegory refers to the relationships between rich and poor, both on a micro-economic scale and a macro-economic scale relating to the power relationships between countries. Big keeps the resources for himself, and only parcels them out to Small when he sees that not doing so will kill his little brother (like providing a minimum wage). He manipulates Small so that Small can be as useful as possible to him, in achieving the task of escaping the well. This is a minor part of the allegory; I’m sure that re-reading and discussing it will make the rest clearer to me.
“You should know, brother, that I am the boy who stole Attila’s horse to make shoes out of his hooves, and in that way ensure that wherever I set foot the grass would no longer grow. The vilest of men fear me, as they fear the scourge of the gods, because I dried out their land and their seed in my vast wanderings across the world.”
The writing itself is exquisite. It has a sense of folklore, with timelessness and a geographic vagueness that makes it relatable to anyone. The dream sequences are nightmarish and just mad enough, while the relationship between the two brothers is a complex and difficult one. I particularly enjoyed Small’s foul mouthed complaints as Big withholds food from him – it is a horrifying tale but it is told with the lightness of a children’s story. The building suspense of whether they’ll escape before Small wastes away, and answering the question of how they got into the well, drives the plot forward at a quick pace. This is a book you can finish in a day, but it will haunt you for weeks afterwards.
Finally he eats. He chews the gelatinous fibre of the maggots a dozen times and the bitter juice that oozes from it dances on his tongue. He drools like a hungry dog. It doesn’t taste of chicken: it’s better than chicken. He bursts into tears like the little boy that he was.
I love books that make you think, and this book both made me think and recoil in horror. However, the allegory was a little difficult to grasp; I didn’t twig until a few days after finishing it, and I think re-reading this novel with that in mind would give me a richer appreciation for it. That I enjoyed it so much even when the subtext eluded me speaks to the quality of the writing. I will definitely be keeping this one permanently on my shelf, between Saramago’s Blindness and Trouillot’s The Street of Lost Footsteps. I’d love to teach this book to my students, and see the many different interpretations and epiphanies that they might find in it.
I received this book from the publisher in exchange for a fair and honest review.
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