Publisher's Synopsis
Sebastian Zöllner, an underachieving art critic, has pinned his hopes of advancement on writing the biography of the artist Manuel Kaminski, a forgotten former pupil of Matisse, now an ailing recluse. Inept, charmless, and with scant knowledge of art history, Zöllner is hardly the man to rediscover a lost genius of 20th-century painting. But he has made one crucial discovery about his subject: that Kaminski's long-lost love, Therese, is still living, contrary to what the artist himself has been led to believe. On his arrival at Kaminski's isolated Alpine home, Zöllner imposes himself crudely on the household, alienating the artist's protective daughter, Miriam. His efforts to unlock the secrets of Kaminski's life lead him to embark on a series of increasingly desperate measures. Having bribed the housekeeper to absent herself, he ransacks the house in search of revealing documents (he finds little of interest), then dismisses the frail Kaminski's doctor, and spirits the old man away in his daughter's Mercedes for a grand reunion with his old flame. From here on events spiral rapidly out of control. Zöllner's and Kaminski's road-trip, by turns chaotic and grotesque, ends not with an emotional coming together of lost lovers, but in a comically bathetic encounter. Pursued by Kaminski's irate daughter, Zöllner and Kaminski take to the road one last time, as the novel draws to its unexpectedly redemptive conclusion. In the paranoid and unlovable Zöllner, the enigmatic and sympathetic Kaminski, and their satellite cast of art-world poseurs, eccentrics and oddballs, Kehlmann shows the same gifts for deft characterization and dialogue that he revealed so triumphantly in Measuring the World. Half road novel, half satire on the contemporary art scene, Kaminski and Me is a wryly humorous meditation on art, memory, and identity. It provides further compelling evidence of the exceptional talents of one of Europe's most exciting and gifted young novelists.
