Or is he? In the immediate aftermath of the accident Saul, a student of eastern European communist history, breaks up with his photographer girlfriend, Jennifer, moves to East Berlin, falls in love with his host, Walter, who is a Stasi informer, sleeps with Walter’s sister and ends up possibly betraying them both, accidentally, to the authorities.Ī Man in Pieces is the title of one of Jennifer’s photographs from the early exhibition that made her famous: a naked portrait of Saul, but fragmented into its individual components. In 1988, aged 28, Saul is hit by a car on the famous Abbey Road zebra crossing in London. For Saul, the blurring of past and present takes on a more literal, urgent reality. The description would also serve perfectly for Saul Adler, the narrator of Levy’s seventh novel, The Man Who Saw Everything. One review of The Cost of Living described Levy’s internal world as “ a shape-shifting space where past and present coexist”. D eborah Levy has won critical acclaim in recent years for her two slim volumes of “living autobiographies”, Things I Don’t Want to Know and The Cost of Living, both unsparing interrogations of her experience in the context of broader literary, feminist and political history.
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