Technology, cute and horrific, in Samanta Schweblin's latest modern nightmare

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Technology, cute and horrific, in Samanta Schweblin's latest modern nightmare
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'Little Eyes' puts the Argentinian surrealist alongside writers — Shirley Jackson, Toni Morrison — whose horrors expose the rotten parts of ourselves.

” tracks the rise of robotic stuffed animals that are bought and cared for by “keepers” and controlled remotely by “dwellers.” When the animals — or “kentukis” — are turned on, each is connected to a single person somewhere in the world who has purchased a serial code in exchange for receiving a literal lens into its keeper’s life. The connection can be broken in a number of ways, but the severance is irreversible.

In Umbertide, Italy, Enzo becomes the keeper of a mole with whom he believes he shares a friendship, until he realizes the dweller has developed an unhealthy obsession with his son. In Oaxaca, Alina acquires a crow as an amusing diversion while accompanying her artist boyfriend to a residency, but she grows to resent the pet and inflicts various types of harm upon its furry body.

In “Little Eyes,” Schweblin proves herself a master at conjuring portraits in miniature, each storyline illuminating some new aspect of the human ability to extract meaning and debasement from technology. Like pets, Schweblin’s robots become vessels for psychological projection — monsters filled with adoration, anxiety, disgust, malice and devotion.

The Argentinian novelist’s last two books, along with “Little Eyes,” all translated by Megan McDowell, have been longlisted for the International Man Booker Prize and translated into dozens of languages. “Fever Dream,” a novella constructed around a conversation between a dying woman and a boy, is a contemporary ghost tale whose two voices volley back and forth the story of their demise.

“Little Eyes” operates on the tension created by dread, situating Schweblin within a canon of writers whose rendering of horror ultimately exposes the gorgeous, rotten and wounded parts of ourselves. Animals with whom humans have creepy relationships are a reoccurring theme in Schweblin’s work, as are questions about the systems and powers that shape the world — corporate agriculture, technology, wealth.

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