In the middle of Mac’s Problem, the recent novel by Enrique Vila Matas, Mac, our narrator, tells a story of two strangers getting drunk in a bar in Basel, Switzerland. One man tends to embellish every aspect of his story, the other sticks strictly to the facts. “Fiction and reality, an old married couple,” Mac remarks. At the end of the story, he tells us “fiction and reality fuse so intensely that, at certain moments, it seems impossible to separate them.” Like a torero and a bull, they “appear to be engage in a game of reciprocal influences.”
Mac’s Problem is full of short stories that are all stitched together with a narrative that primarily focuses on Mac (a man whose prosperous family business has just imploded) and his neighbor, Sánchez (the “celebrated Barcelona writer”). Mac, who has always aspired to be a writer, decides to keep a private diary, which is the book we are reading. One of Mac’s many problems is that the diary keeps trying to become a novel. It keeps drifting off into literature. And Mac is not too happy about that.
I’ve noticed that these two sequences together form a very slight novelistic plot: as if, all of a sudden, certain autobiographical incidents had decided to piece together for me a single story, and one with literary overtones to boot; as if certain chapters of my daily life were colluding and crying out to be turned into fragments of a novel.
But this is a diary! I shout. . .
Mac’s compelling fantasy is to take up one of Sánchez’s early, nearly forgotten books called Walter’s Problem, which Mac finds “insufferable,” and completely rewrite it. Every chapter of Walter’s Problem is a short story written “in a style reminiscent of” another author, a list that includes John Cheever, Djuna Barnes, Ernest Hemingway, Jorge Luis Borges, Jean Rhys, and Raymond Carver. Throughout the first half of his diary, Mac will very briefly outline for us his version of each of the ten chapters in Walter’s Problem. In the second half of his diary, Mac tells us what was wrong with Sánchez’s version and how he would write a story to replace the original. As Mac writes his own version of each story in his imagination, he is, in effect, erasing Sánchez’s version of the ten stories, one by one.