TARGET IN THE NIGHT by Ricardo Piglia (Translated by Sergio Waisman)

Target in the Night
(Emilio Renzi #2)
By Ricardo Piglia
(Translated from Blanco nocturno by Sergio Waisman)
Deep Vellum Publishing — October 2015
ISBN 9781941920169 — 288 Pages – Paperback
Source: Publisher

As unique a piece of crime/detective fiction that one will likely come across, Target in the Night is an acknowledged literary masterpiece, winner of the 2011 Premio internacional de novela Rómulo Gallegos and other prestigious prizes for Spanish language literature. In the few years since its translation into English by Deep Vellum Press, it has gotten even further positive reviews in multiple outlets. However, I found the novel to be a nigh impenetrable puzzle that I could never quite capture in the cross-hairs of my focus or enjoyment.
Set in a small, insular Argentinian town, the novel begins when Puerto Rican visitor Tony Durán is found murdered in his hotel room after flamboyantly arriving in town and sleeping with the twin Belladonna sisters, members of a powerful family that gained its wealth in the crooked industry of horse racing. Authorities make an arrest, but Police Inspector Croce remains unsatisfied, convinced there is something buried and committed to discover the truth behind Durán’s murder, no matter the cost. Emilio Renzi, a reporter who appears as a character in other novels by Piglia joins Croce in the investigation, and in this way Renzi serves as the point-of-view narrator of events, recounting them years after their completion in a nonlinear pattern.
While the plot of Target in the Night seems rather straight-forward and conventional for a crime thriller, it’s style is decidedly the opposite, from the aforementioned nonlinear structure to an unconventional focus away from details of the crime, or its resolution, themselves to a postmodern meditation on the politics of an intricate web of characters, on seeking interpretations of truth in a corrupt society where nebulous, authoritarian forces spin individuals into intractable realities.

There is nothing inherently problematic with this unconventional approach. Were I to have read up a bit more on the novel prior to my starting reading, it may have lessened my frustrations with finding its rhythm, because all my expectations of a ‘detective novel’ would have been shed. But even so there remain some significant potential impediments for readers. One is an ignorance of its historical context. Target in the Night is rife with not just abstract philosophical strains, but also with specific metaphor and commentary on Argentinian political unrest. The Spanish language here may be translated with fidelity, but I have no basis for making the full cultural connections the novel paints. The slow paced building of Piglia’s ideas through novel combined with a cold, almost emotionally distant personality of his characters exacerbates this inability to connect. Given the large number of eccentricities that Piglia gives his characters, I was surprised how hard it became for me to get into them, and the text.

Piglia, who sadly passed away in January of last year achieves some staggeringly impressive writing, that while not easily approachable is evocative and at times poetic. Despite that, this particular novel simply did not work for me. Readers who appreciate intellectual literature still might want to check Target in the Night out, particularly if more familiar with the history of Argentina than I. The mystery and detective aspects of the novel provide an adequate backdrop of plot for Piglia’s craft, just don’t expect that plot to become more than a means to an end.

Disclaimer: I received a free copy of this from the publisher in exchange for an honest review.

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