… two additional fictions by Winkler were published in the past year by Contra Mundum, When the Time Comes (1998/2013) and Natura Morta: A Roman Novella (2001/2014), both translated assiduously by Adrian West, who, to use his own words (as applied to Winkler’s prose), is able to render the “painstaking … visual detail” and “attention to the musicality of phrases” found in the original German texts with a skill that honors Winkler’s writing as a “writing-against.”
Winkler eschews a traditional plot; instead, narrative fragments work together by means of repetition to complicate his vision of modern life. But single scenes can also be understood on their own terms, if one considers the images and their relation to the overall thematics of the text.
. . .
Winkler’s imagistic prose shows debts to the cinema. In one scene, Piccoletto spies a videocassette of “the film Sciuscià by Vittorio de Sica” “[a]top the apricots and white peaches” carried in a plastic bag by an anonymous woman on a streetcar. This mention of de Sica’s first major work as a director—filmed in 1946 and translated in English as Shoeshine—reveals how images in Winkler function similarly to those in a neorealist film; not only do many of the series of images contain potent mixtures of the sacred and the profane, but they overvalue the image itself (in its repetition and in its recurrence) in ways also reminiscent of auteurs such as Michelangelo Antonioni.
K. Thomas Kahn, Numero Cinq (February 2, 2014).
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