Review of Jean-Philippe Toussaint's "The Chessboard": A Confusing Memoir

The Chessboard, translated from French by Ruth Diver, is published by Other Press, spanning 191 pages and priced at $16.99. Jean-Philippe Toussaint, a 68-year-old Belgian author known for his diverse contributions as a novelist, playwright, photographer, and filmmaker, has created a body of work since 1985 that includes the Proustian Cycle of Marie, a four-novel series examining a love affair's rise and fall.

Previously, Toussaint's novel The Emotions, published in French in 2020 and in English in 2022, showcased an intense narrative centered around bureaucrat Jean Detrez, who struggles to navigate personal and professional challenges amid a failing marriage. This novel’s style, echoing influences from Samuel Beckett and Alain Robbe-Grillet, features an unconventional lack of paragraph breaks and quotation marks, coupled with a compelling exploration of emotion.

In contrast, The Chessboard attempts to blend various themes and experiences from Toussaint’s life, particularly during the onset of the COVID-19 pandemic in March 2020. He describes his journey from Brussels to his writing office in Ostend to edit The Emotions and translate Stefan Zweig’s Chess Story into French. However, the unexpected lockdown complicates his work and reflections.

Despite its title and structure, with sixty-four short chapters parallel to a chessboard, the memoir does not engage deeply with chess as a metaphor for life. Instead, Toussaint wanders through topics ranging from his writing process, memories of his grandmother, the impact of the pandemic on his routine, and reflections on education and personal relationships.

Lacking a cohesive theme, the book embodies the awkwardness of life itself, exploring detours and confusion rather than providing clarity. One memorable passage reveals Toussaint grappling with writer's block while contemplating the purpose of his writing. The aimlessness he encounters in his reflections leaves the reader with a sense of uncertainty.

Ultimately, while the memoir presents glimpses of interest and insight, it often feels disjointed, akin to a clothesline cluttered with various garments. The absence of a distinct narrative focus raises questions about the author's intent and invites the reader to search for meaning in what remains elusive.

David Mehegan previously served as the book editor for The Boston Globe.