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Similar to years past, we’re going to be featuring each of the 25 titles on the BTBA Fiction Longlist over the next month plus, but in contrast to previous editions, this year we’re going to try an experiment and frame all write-ups as “why this book should win.” Some of these entries will be absurd, some more serious, some very funny, a lot written by people who normally don’t contribute to Three Percent. Overall, the point is to have some fun and give you a bunch of reasons as to why you should read at least a few of the BTBA titles.

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The Jokers by Albert Cossery, translated by Anna Moschovakis

Language: French
Country: Egypt
Publisher: New York Review Books
Pages: 160

A Splendid Conspiracy by Albert Cossery, translated by Alyson Waters

Language: French
Country: Egypt
Publisher: New Directions
Pages: 224

Why Cossery Should Win: One of the best discoveries of 2010; Cossery would’ve loved the Egyptian revolution; Cossery’s belief in idleness is awesome; Cossery’s belief in hedonism is awesome; both books are hilarious; he has 2-in-25 odds, which is twice as good as any other longlisted author

Today, Bill Marx of and takes a look at both books by Albert Cossery that made the longlist.

Led by young people dreaming of freedom from authoritarian control, energized by plots and counterplots placed on Facebook and Twitter, the inspiring revolution in Egypt fits the resurrectionist fantasies of author Albert Cossery (1913-2008), though he would have preferred the liberating results be attained with less sacrifice and energy. His languid fiction treats subversion as a romp, a nervy comic game played against repression and routine. Given his delight in turning government puppets into clowns, Cossery would have reveled in how quickly Hosni Mubarak became a superannuated figure of farce.

Cossery left Egypt as a young man for Paris, where he hung out with Albert Camus and other French intellectuals while leading a life of hedonism (he estimated he had slept with over 2,000 women). His fiction financed his bohemian lifestyle and promulgated his relaxed anarchistic perspective—he was no lover of democracy but a libertine, an ironic satirist in the manner of Oscar Wilde who thought men salvageable as long as they didn’t bore. (Objects of desire, fear, and sentiment, women are irredeemable, at least in these two books.) The Jokers sums up the attributes of Cossery’s ideal male: “That he gives me a wonderful sense of plentitude, even when caught up in life’s trivalities. The breath of joy he conveys. That’s how you recognize the richness of a man’s love.” Think of a guy who exudes perpetual delight, especially when contemplating nihlistic destruction: the cocky panache of Cossery’s buddy-buddy vision of the world.

Both of the entertaining Cossery novels on the BTBA long list are masculine love stories in which young men who set out to undercut their clueless oppressors in Middle Eastern cities. For me, A Splendid Conspiracy, published in French in 1974, is the stronger of the two, perhaps because Cossery seems to be paying serious attention to his multi-layered faux-noirish tale of murder, political intrigue, and sexual perversity. The Jokers, which dates from 1963, deals with the same theme—a plucky, ultimately futile takedown of offical power—but provides sketchier, less exhilerating black comedy, though it has a nicely absurd payoff.

Also, given current concerns with terrorism, A Splendid Conspiracy presents an especially nervy parody of “revolutionary” violence. A police inspector in a small Egyptian town suspects a team of “radicals” are kidnapping and/or killing some of its most notable citizens. Of course, Cossery’s gang of sluggards, who mock everything but leisure and sex, are suspected to be the culprits. In one striking passage the ringleader of the laidback crew expresses sympathy for those dedicated to the decombustion of the status quo: “The tinest bomb that explodes somewhere should delight us, for behind the noise it makes when it explodes, even if barely audible, lies the laughter of a distant friend.” What price the joy of deconstruction? Cossery never asks.