About the book:
Baroque, Amanda Michalopoulou’s latest novel, is a hybrid auto-fiction, consisting essentially of 50 short stories, each of which could also be a ‘photo’ or a landmark snapshot of every year of the writer’s life, but in the reverse order; in the first short story the heroine is an eloquent middle-aged woman who gradually, year after year, sheds all the layers that time and language has placed upon her until all that’s left is a verbally impotent infant and a poem narrating her conception by the love making of her parents.
People may say my protagonist and I are the same person. Try figuring that one out. We’re busying ourselves with trivialities instead of living our lives. We should live like wild pigs, like flowers in the field, like flies. Until the animals swallow themselves, the field sucks in all its vegetation, and we become one.
More about Baroque
Read three short stories from Baroque, published at The Brooklyn Rail
Baroque was presented in different venues across the world, from Azerbaijan, Austria and Spain to Germany and the US. Michalopoulou’s novel was translated in bits and pieces, chapter by chapter, thanks to the support of her translators. Read more about Baroque Book Tour
One of Michalopoulou’s best books, and one of the best books of the past several years.
Vangelis Hadjivassiliou, To Vima Newspaper
Michalopoulou writes as well as Rushdie, as precisely as Eco, just as frankly as McEwan (Can I say ‘better’ without being stoned to death as a blasphemer?). Her memories may be forged but they are made of the stuff of dreams and they have the familiar aftertaste of our own memories. In a way, Michalopoulou has written the autobiography of everything.
Alexandra Samothraki, O Anagnostis Magazine
If Deleuze found in the fold the advantageous position of the Baroque work in relation to that of the Renaissance, in the case of Michalopoulou it is obvious that every unfolding of the text, every simple detail that is deliberately repeated counts.
At some points the narrative is heartbreaking in its simplicity and in the way it tries to avoid emotion, in others it wins with the unbridled and guiltless tendency to wildly imagine, as this is ultimately the exclusive, true supremacy of the author. A writer is allowed to imagine but not to pretend, and so she is not afraid to talk about her most painful love-related disappointments and refutations, her insecurities or phobias, or even to reveal the inner creaks of the home she grew up in. Every successful schema is always revealed in its vulnerability.
Tina Mandilara, LIFO Magazine
Amanda Michalopoulou writes a novel of ‘self-invention’, which brings her to the forefront of literary quests at this time. But that would also be of no importance if the novel were not so good; if you didn’t get to its last page with a sense of enjoyment. I’ll say it: Baroque is a reading pleasure.
Nikos Bakounakis, To Vima Newspaper
My golden reindeer, a poem from Baroque, turned into a song. Composed and performed by singer song-writer Nalyssa Green
Actress and theatre director Lena Kitsopoulou reads from Baroque in German