The Books of Jacob

Description

A NEW YORKER “ESSENTIAL READ”

“Just as awe-inspiring as the Nobel judges claimed.” – The Washington Post

“Olga Tokarczuk is one of our greatest living fiction writers. . . This could well be a decade-defining book akin to Bolaño’s 2666.” –AV Club

“Sophisticated and ribald and brimming with folk wit. . . The comedy in this novel blends, as it does in life, with genuine tragedy.” –Dwight Garner, The New York Times

LONGLISTED FOR THE 2022 NATIONAL BOOK AWARD

NAMED A BEST BOOK OF THE YEAR BY THE NEW YORK TIMES, THE WALL STREET JOURNAL, TIME, THE NEW YORKER, AND NPR

The Nobel Prize–winner’s richest, most sweeping and ambitious novel yet follows the comet-like rise and fall of a mysterious, messianic religious leader as he blazes his way across eighteenth-century Europe.

In the mid-eighteenth century, as new ideas—and a new unrest—begin to sweep the Continent, a young Jew of mysterious origins arrives in a village in Poland. Before long, he has changed not only his name but his persona; visited by what seem to be ecstatic experiences, Jacob Frank casts a charismatic spell that attracts an increasingly fervent following. In the decade to come, Frank will traverse the Hapsburg and Ottoman empires with throngs of disciples in his thrall as he reinvents himself again and again, converts to Islam and then Catholicism, is pilloried as a heretic and revered as the Messiah, and wreaks havoc on the conventional order, Jewish and Christian alike, with scandalous rumors of his sect’s secret rituals and the spread of his increasingly iconoclastic beliefs. The story of Frank—a real historical figure around whom mystery and controversy swirl to this day—is the perfect canvas for the genius and unparalleled reach of Olga Tokarczuk. Narrated through the perspectives of his contemporaries—those who revere him, those who revile him, the friend who betrays him, the lone woman who sees him for what he is—The Books of Jacob captures a world on the cusp of precipitous change, searching for certainty and longing for transcendence.

In a nod to books written in Hebrew, The Books of Jacob is paginated in reverse, beginning on p. 955 and ending on p. 1 – but read traditionally, front cover to back.Praise for The Books of Jacob:

“Sophisticated and ribald and brimming with folk wit. . . The comedy in this novel blends, as it does in life, with genuine tragedy.” —Dwight Garner, The New York Times

“Monumental . . . could help the Swedish Academy restore its rather tattered reputation as an arbiter of serious literature. …Tokarczuk is as comfortable rendering the world of the Jewish peasantry as that of the Polish royal court. . . . Incalculably rich in learning and driven by a faith in the numinous properties of knowledge.” —Wall Street Journal

“It’s just as awe-inspiring as the Nobel judges claimed. . . . Miraculously entertaining and consistently fascinating. Despite his best efforts, Frank never mastered alchemy, but Tokarczuk certainly has. . . . Haunting and irresistible.” —The Washington Post

“Yes, there’s a miracle in these pages. It’s not about the Virgin Mary or the false Messiah Jacob Frank, however, but the way Tokarczuk can make a period so distant from us in every way feel so completely alive.” —Los Angeles Times
 
“Tokarczuk aims high, spinning a layered, majestic, polyphonic novel based on a real-life figure. . . . A golden age of historical fiction is upon us: Tokarczuk links arms with Hilary Mantel and Colson Whitehead, connecting our own perilous moment with the past.” —Oprah Daily
 
“A colossal work – an epic, a fable, a history, sometimes a satire, always a magnum opus.” —NPR

“Funny, tragic, comprehensive, and at times hilariously graphic … both earthy and ethereal.” —Boston Globe

“You can practically smell the damp earth, the household fires, the dry paper of Nobel laureate Tokarczuk’s epic set across the villages of 18th-century Poland. Everything about The Books of Jacob, including Tokarczuk’s generous, comfortable style, is vast but meticulously detailed.” —Vulture
 
“Olga Tokarczuk is one of our greatest living fiction writers, Jennifer Croft’s translations are always magnificent, and this epic thousand-page novel is said to be their magnum opus. . . . This could well be a decade-defining book akin to Bolaño’s 2666.”  —AV Club
 
“Contains an entire overflowing, sensual world to get lost in. . . . truly bewitching account of untold fissures in history, minor religions, little lives, and splinterings-off. It is rich, strange, astonishing in scope, and delightfully enigmatic. . . . Tokarczuk’s magnum opus shows us a world on the precipice of a great change, one hand clinging to certainty while the other reaches for transcendence.” —World Literature Today

“Truly an epic historical novel.” —Hey Alma
 
“Deeply researched [and] fascinating. . .  [it] has the power to both enlighten and unnerve, especially in its eerie reflection of the rampant prejudices and inequalities that roil our world today.” —Hadassah Magazine
 
“[A] subtle and sensuous masterpiece. . . . Readers are rewarded throughout with tender and ebullient moments. . . . In the hands of Tokarczuk and Croft, these concerns feel real and vital. . . . This visionary work will undoubtedly be read and talked about by lovers of literature for years to come.” —Publishers Weekly (starred review)

“A massive achievement that will intrigue and baffle readers for years to come.” —Kirkus (starred review)

“Nobel laureate Tokarczuk’s magnum opus. . . . With language that’s engaging, erudite, and spiced with witty colloquialisms and wonderful turns of phrase via Jennifer Croft’s supple translation, Tokarczuk explores the state of being an outsider in places with fixed cultural boundaries. . . . A wealth of fine quotidian detail and brilliantly connected narrative threads draw the reader in. . . .  masterful.” —Booklist (starred review)

“As crowded as a Bruegel painting. . . visionary. . . . Tokarczuk is wrestling with the biggest philosophical themes: the purpose of life on earth, the nature of religion, the possibility of redemption, the fraught and terrible history of eastern European Jewry. . . . A landmark.” —The Guardian

“A kind of literary miracle.” —The Times (UK)Olga Tokarczuk has won the Nobel Prize in Literature and the International Booker Prize, among many other honors. She is the author of a dozen works of fiction, two collections of essays, and a children’s book; her work has been translated into fifty languages.

Jennifer Croft won the 2020 William Saroyan International Prize for Writing for her illustrated memoir Homesick and the 2018 Booker International Prize for her translation of Olga Tokarczuk’s Flights.1.

1752, Rohatyn

It’s early morning, near the close of October. The vicar forane is standing on the porch of the presbytery, waiting for his carriage. He’s used to getting up at dawn, but today he feels just half awake and has no idea how he even ended up here, alone in an ocean of fog. He can’t remember rising, or getting dressed, or whether he’s had breakfast. He stares perplexed at the sturdy boots sticking out from underneath his cassock, at the tattered front of his faded woolen overcoat, at the gloves he’s holding in his hands. He slips on the left one; it’s warm and fits him perfectly, as though hand and glove have known each other many years. He breathes a sigh of relief. He feels for the bag slung over his shoulder, mechanically runs his fingers over the hard edges of the rectangle it contains, thickened like scars under the skin, and he remembers, slowly, what’s inside-that heavy, friendly form. A good thing, the thing that’s brought him here-those words, those signs, each with a profound connection to his life. Indeed, now he knows what’s there, and this awareness slowly starts to warm him up, and as his body comes back, he starts to be able to see through the fog. Behind him, the dark aperture of the doors, one side shut. The cold must have already set in, perhaps even a light frost already, spoiling the plums in the orchard. Above the doors, there is a rough inscription, which he sees without looking, already knowing what it says-he commissioned it, after all. Those two craftsmen from Podhajce took an entire week to carve the letters into the wood. He had, of course, requested they be done ornately:

HERE TODAY AND GONE TOMORROW.

NO USE TO MILK IS YOUR SORROW

Somehow, in the second line, they wrote the very first letter backward, like a mirror image. Aggravated by this for the umpteenth time, the priest spins his head around, and the sight is enough to make him fully awake. That backward  . . . How could they be so negligent? You really have to watch them constantly, supervise their each and every step. And since these craftsmen are Jewish, they probably used some sort of Jewish style for the inscription, the letters looking ready to collapse under their frills. One of them had even tried to argue that this preposterous excuse for an N was acceptable-nay, even preferable!-since its bar went from bottom to top, and from left to right, in the Christian way, and that Jewish would have been the opposite. The petty irritation of it has brought him to his senses, and now Father Benedykt Chmielowski, dean of Rohatyn, understands why he felt as if he was still asleep-he’s surrounded by fog the same grayish color as his bedsheets; an off-white already tainted by dirt, by those enormous stores of gray that are the lining of the world. The fog is motionless, covering the whole of the courtyard completely; through it loom the familiar shapes of the big pear tree, the solid stone fence, and, farther still, the wicker cart. He knows it’s just an ordinary cloud, tumbled from the sky and landed with its belly on the ground. He was reading about this yesterday in Comenius.

Now he hears the familiar clatter that on every journey whisks him into a state of creative meditation. Only after the sound does Roshko appear out of the fog, leading a horse by the bridle; after him comes the vicar’s britchka. At the sight of the carriage, Father Chmielowski feels a surge of energy, slaps his glove against his hand, and leaps up into his seat. Roshko, silent as usual, adjusts the harness and glances at the priest. The fog turns Roshko’s face gray, and suddenly he looks older to the priest, as though he’s aged overnight, although in reality he’s a young man yet.

Finally, they set off, but it’s as if they’re standing still, since the only evidence of motion is the rocking of the carriage and the soothing creaks it makes. They’ve traveled this road so many times, over so many years, that there’s no need to take in the view any longer, nor will landmarks be necessary for them to get their bearings. Father Chmielowski knows they’ve now gone down the road that passes along the edge of the forest, and they’ll stay on it all the way to the chapel at the crossroads. The chapel was erected there by Father Chmielowski himself some years earlier, when he had just been entrusted with the presbytery of Firlej—w. For a long time he had wondered to whom to dedicate the little chapel, and he had thought of Benedict, his patron saint, or Onuphrius, the hermit who had, in the desert, miraculously received dates to eat from a palm tree, while every eighth day angels brought down for him from heaven the Body of Christ. For Father Chmielowski, Firlej—w was to be a kind of desert, too, after his years tutoring His Lordship Jabonowski’s son Dymitr. On reflection, he had come to the conclusion that the chapel was to be built not for him and the satisfaction of his vanity, but rather for ordinary persons, that they might have a place to rest at that crossroads, whence to raise their thoughts to heaven. Standing, then, on that brick pedestal, coated in white lime, is the Blessed Mother, Queen of the World, wearing a crown on her head, a serpent squirming under her slipper.

She, too, disappears into the fog today, along with the chapel and the crossroads. Only the treetops are visible, a sign that the fog is beginning to dissipate.

“Kaka won’t go, good sir,” Roshko grumbles when the carriage comes to a stop. He gets out of his seat and vigorously crosses himself-once, twice, and then again.

He leans forward and peers into the fog as he would into water. His shirt pokes out from underneath his faded red Sunday doublet.

“I don’t know where to go,” he says.

“What do you mean, you don’t know? We’re on the Rohatyn road now,” the priest says in astonishment.

And yet! He gets out of the britchka to join his servant. Helplessly they circle the carriage, straining their eyes into the pale gray. For a moment they think they see something, but it’s only that their eyes, unable to latch on to anything, have begun to play tricks on them. But how can they not know where to go? It’s like getting lost in one’s own pocket.

“Quiet!” the priest says suddenly, and raises his finger, straining to hear. And indeed, from somewhere off to the left, through the billows of fog, the faint murmur of water reaches their ears.

“Let’s follow that sound,” the priest says with determination. “That’s water flowing.”

Now they’ll slowly creep along the river people call the Rotten Linden. The water will be their guide.

Soon Father Chmielowski relaxes back inside his carriage, stretching his legs out before him, allowing his eyes to drift within this mass of fog. Right away he slips into his musings-for man thinks best in motion. Slowly, reluctantly, the mechanism of his mind awakens, wheels and pinions starting up, the whole getting going just like the clock that stands in the vestibule of the presbytery, which he purchased in Lw—w for an exorbitant sum. It’ll be just about to chime. Did not the world emerge from such a fog? he starts to wonder. After all, the Jewish historian Josephus maintains the world was created in the autumn, at the autumn equinox. A reasonable notion, since of course there were fruits in paradise; given the apple hanging from the tree, it must indeed have been autumn . . . There is a logic to it. But right away another thought occurs to him: What kind of reasoning is this? Could not Almighty God create such paltry fruits at any time of year?

When they come to the main road leading to Rohatyn, they join the stream of persons on foot and horseback and in every variety of vehicle who appear out of the fog like Christmas figurines sculpted from bread. It is Wednesday, market day in Rohatyn, and the peasants’ carts are loaded with grain sacks, cages with poultry fowl-all sorts of agricultural bounty. As the carts roll slowly by, merchants skip between them, carrying every imaginable commodity-their stalls, cleverly collapsed, can be thrown over their shoulders like carrying poles; then, in a flash, unfolded, they are tables strewn with bright materials or wooden toys, eggs bought up from the villages for a quarter of what they cost here, now. Peasants lead goats and cows to be sold; the animals, frightened by the tumult, stop among the puddles and refuse to budge. Now a wagon flies by them, its cover a tarpaulin riddled with holes; it carries a load of the exuberant Jews who converge upon the Rohatyn market from all over. Next a very ornate carriage wedges its way through, though in the fog and the crowd it has trouble preserving its dignity-its vibrant little lacquered doors are caked with mud, and the cerulean-cloaked coachman’s countenance is wan, as he must not have been expecting such a commotion and is now desperately seeking any opportunity to get off this terrible road.

Roshko is persistent and will not be forced onto the field; he keeps to the right side with one wheel in the grass, one on the road, and moves steadily forward. His long, gloomy face gets flushed, then taken over by a hideous grimace; the priest glances at him and remembers the etching he studied yesterday, featuring spitfires in hell with faces very like Roshko’s right now.

“Let the Very Reverend through! Nu, poshli! Out of the way!” shouts Roshko. “Out!”

Suddenly, without warning, the first buildings appear in front of them. Evidently the fog changes all perception of distance, as even Kaka seems confused. She lurches, yanking the drawbar, and were it not for Roshko’s firm hand and whip, she would have overturned the britchka. In front of them is a blacksmith’s; maybe Kaka got spooked by the sparks spewing from that furnace, or else by the anxiety of the horses waiting their turn to be shod . . .

Farther on is the inn, in a state of partial ruin, reminiscent of a rural cottage. A well-pole juts out over it like a gallows, piercing the fog, then disappears somewhere higher up. The priest sees that the filthy fancy carriage has come to a stop here, the exhausted coachman’s head fallen to his knees; he doesn’t leave his seat, nor does anyone emerge from inside. Already a tall, skinny Jew and a little girl with tousled hair are standing before it. But the vicar forane sees no more-the fog subsumes every passing view, each scene as fleeting as a flake of dissolving snow.

This is Rohatyn.

It starts with huts, tiny houses made of clay with straw thatch that seems to be pressing the structures down into the ground. The closer you get to the market square, the shapelier these little houses become, and the finer the thatching, until thatch disappears altogether into the wooden shingles of the smaller town houses, made of unfired bricks. Now there is the parish church, now the Dominican monastery, now the Church of Saint Barbara on the market square. Continuing on, two synagogues and five Orthodox churches. Little houses all around the market square like mushrooms; each of these contains a business. The tailor, the ropemaker, the furrier in close proximity, all of them Jews; then there’s the baker whose last name is Loaf, which always delights the vicar forane because it suggests a sort of hidden order that-were it more visible and consistent-might lead people to live more virtuous lives. Then there’s Luba the swordsmith, the facade of his workshop more lavish than anything nearby, its walls newly painted sky blue. A great rusted sword hangs over the entrance to show that Luba is an excellent craftsman, and that his customers have deep pockets. Then there’s the saddler, who has set out a wooden sawhorse in front of his door, and on it a beautiful saddle with stirrups that must be plated in silver, so they gleam.

In every place there is the cloying smell of malt that gets into all that is up for sale and gluts a person just as bread can. On the outskirts of Rohatyn, in Babice, are several small breweries that give the whole region this satiating scent. Many stalls here sell beer, and the better shops also keep vodka, and mead-mostly tr—jniak. The Jewish merchant Wachshul, meanwhile, sells wine, real Hungarian and Rhineland wine, as well as some sourer stuff they bring in from Wallachia.

The priest moves among stands made out of every imaginable material-boards, pieces of thickly woven canvas, wicker baskets, even leaves. This good woman with the white kerchief on her head is selling pumpkins out of a cart; their bright orange color draws in the children. Next, another woman offers up lumps of cheese on horseradish leaves. There are many women merchants besides, those who have suffered the misfortune of widowhood or who are married to drunks; they trade in oil, salt, linen. The priest generally purchases something from this lady pasztet-maker; now he gives her a kind smile. After her are two stands that feature evergreen branches-a sign they’re selling freshly brewed beer. Here is a rich stall that is operated by Armenian merchants, with light, beautiful materials, knives in ornamental scabbards. Next to it is the dried sturgeon stand, with a sickening scent that gets into the wool of the Turkish tapestries. Farther along, a man in a dusty smock sells eggs by the dozen in little baskets woven out of blades of grass, which he keeps in a box that hangs from his skinny shoulders. Another sells his eggs sixty at a time, in large baskets, at a competitive, almost wholesale price. A baker’s stall is completely covered in bagels-someone must have dropped one into the mud because a little dog is now rapturously scarfing it up off the ground.

People sell whatever they can here. Floral materials, kerchiefs, and scarves straight from the bazaar in Stamboul, and children’s shoes, and nuts, and that man over by the fence is offering a plow and all different sizes of nails, as thin as pins or as thick as fingers, to build houses. Nearby, a handsome woman in a starched bonnet has set out little clappers for night watchmen, the kind that sound more like crickets’ nocturnes than a summons from sleep, alongside bigger ones, loud enough to wake the dead.

How many times have the Jews been told not to sell things having to do with the Church. They’ve been forbidden by priests and rabbis alike, to no avail. There are lovely prayer books, a ribbon between their pages, letters so marvelously embossed in silver on the cover that when you run your fingertip along their surface they seem warm and alive. A smart, almost lavishly dapper man in a yarmulke holds them like they’re relics, wrapped in thin paper-a creamy tissue to keep the foggy day from sullying their innocent Christian pages, fragrant with printing ink. He also has wax candles and even pictures of the saints with their halos.CA

Additional information

Dimensions	2.0000 × 6.0000 × 9.0000 in
Imprint	Riverhead Books
ISBN-13	09780593087503
ISBN-10	059308750X
Author	Jennifer Croft, Olga Tokarczuk
Audience	General / adult
BISAC	FIC051000, FIC039000
Subjects	FIC039000, books fiction, historical novels, historical fiction books, best books, best books 2023, best selling books, jewish gifts, best books 2022, fiction books, best book club books, metaphysical books, fiction books best sellers for adults, best book list 2022, fiction book, nobel prize winners, best selling book, Man Booker, spirituality, drama, fiction, novel, national book award, roman, novels, award winning books, historical, historical fiction, literary fiction, metaphysical, best books for women, FIC051000, historical books, flights