"There is something of Dostoyevsky’s Underground Man here, furiously attempting to write the world before it’s all swept away... the result is a powerful toast to living."
Financial Times - Matthew Janney
"There are very few novels that appear to a seasoned reader as utterly original: The Physics of Sorrow is one of these rare books."
★ 2024-03-23 A web of entangled memories.
In this swirling, ruminative novel, translated by Rodel, award-winning Bulgarian poet, playwright, and novelist Gospodinov takes the mythological minotaur as the central figure in a metafictional narrative that leaps through time and space, from King Minos’ palace to communist Bulgaria, from politics to quantum physics. Gospodinov’s minotaur, though, is no monster, but rather a melancholy being, a lonely Minotaur-boy, one among a long lineage of forsaken children. The offspring of an affair between his mother and a bull, the child was born with the head of a bull and body of a human, proof of the transgression and justifying his abandonment. “There is a sorrow in him,” the narrator—whose name is Georgi—observes, “which no animal possesses.” The minotaur’s plight of abandonment recurs: Georgi remembers being left alone in his family’s apartment in the 1970s while his parents worked, feeling lonely, bored, and abandoned. “Is there a Minotaur Syndrome?” he wonders. “The history of the family can be described through the abandonment of several children. The history of the world, too.” The image of a spiraling labyrinth recurs, as well; the past, Georgi realizes, “never runs in one direction.” Describing himself as an “empath” able to enter the minds of others, Georgi creates a “time capsule” filled with his own memories and the “whole cacophony” of memories of his father and grandfather (another Georgi), friends and neighbors. Reflecting about the “randomness and uncertainty” of physical particles, Georgi likens empathy to a gas, or a “stray cloud,” that wafts through the universe until it is “unlocked…through sorrow,” and perceived by empaths like himself. “Someone,” he believes, “must constantly be watching and thinking about the world so that it exists.”
A playful, profound meditation on storytelling and time.
04/20/2015 Gospodinov's (Natural Novel) quixotic novel is part family saga, part meditation on Greek myths, and part personal history of growing up in Communist Bulgaria. Despite the challenges posed by this mix of styles and material, it's occasionally moving and points toward a book that might have been. The narrator is a Bulgarian writer who considers himself a collector of stories—literally, as he will often pay strangers for interesting anecdotes. He claims that as a child he could slip into others' experiences, and so when he begins to relate stories of his grandfather's youth and soldiering during WWII, he sometimes presents them in the first person. These affecting but confusing scenes are interspersed with images from the story of the Minotaur and its labyrinth. The narrator feels great sympathy toward this misunderstood "monster," and these passages are some of the best. However, the novel rambles across characters, eras, and stories; by the final quarter, the already thin pretense of a central narrative is completely set aside, and the narrator strings together a random assortment of tales and observations he's collected on his travels. Some of these stories sparkle, but the impression is of padding, and the effect is exhausting. The overall sense imparted by Gospodinov's experimental style isn't so much of having read a novel, as of having been presented with a measured amount of writing. Some of it is very fine, but too much is undisciplined and confusing. (Apr.)
"A reinterpretation of ancient Greek myth, a celebration of story telling, a treatise on nostalgia and aging, a collection of insights into the nature of time, The Physics of Sorrow has it all."Randy Rosenthal, Tweed's Mag
"[The] real quest in The Physics of Sorrow is to find a way to live with sadness, to allow it to be a source of empathy and salutary hesitation
Chronicling everyday life in Bulgaria means trying to communicate Bulgarian "sadness," which isto the extent that these things can be disentangledas much a linguistic as a metaphysical dilemma"Garth Greenwell, The New Yorker
"Bulgarian writer Georgi Gospodinov's The Physics of Sorrow unites formal experimentation with emotional resonance in a compelling exploration of how and why humans tell stories
Gospodinov ruminates on the mazelike structures of the human brain, of cities, and of books themselves
[and] juxtaposes the grotesque and the beautiful
at once concrete and transcendent
Both an intellectual game and a very human story, The Physics of Sorrow captivates."Elizabeth C. Keto, The Harvard Crimson
"Gospodinov's THE PHYSICS OF SORROW offers up a beautiful exploration of the inescapable maze-like nature of life. . . . [it] reminds us that we must never forget that we are not alone. We must never lose sense of who we are, who we were, where we come from, and where we're going. And we must never stop sharing the resulting stories of our wondrous explorations with the world at large because we must allow ourselves to feel everything or be doomed to feel nothing at all." Aaron Westerman, Typographical Era
"Gospodinov forces us to examine our own lives, expectations, and assumptions. He asks us to look outside of ourselves, to myth and family history and national history, to find meaning in a world that often seems cruel and cold. A mixture of grim humor, keen self-reflection, and even a bit of dogged optimism, The Physics of Sorrow is not to be missed." Bookishly Witty
"A time-traveling empath, [Gospodinov] uses story to call us to look beyond ourselves to what can root us and give our lives meaning in a world that can seem crushingly cold and cruel." Kristine Morris, Foreward Reviews
06/01/2015 As the protagonist states at the end of this book, "The past, sorrow, literature—only these three weightless whales interest me." In a narrative that only seems to leap about, he makes the Minotaur of ancient Greek literature emblematic of his and Bulgaria's sorrowful past. It says a lot about both that his Minotaur is no fearsome beast but a frightened creature in a dark and friendless place. From a grandfather's near abandonment as a child to "An Official History of the 1980s" to scientific experiments and the relentless sifting of the Minotaur myth (with Scheherazade thrown in to amplify the many side stories), Bulgarian novelist Gospodinov (Natural Novel) follows a thread through many caverns to a final conclusion: "We was." VERDICT Not for those who like a light read but an intriguing way to feel the weight of history and a hard coming of age.