IMAGINE THE NARRATOR of Dostoyevsky’s Notes from Underground as a Spanish colonial official in late 18th and early 19th century Paraguay, before Bolivar and independence, and you will have some idea of Zama. The narrator of the second part of Notes, I should specify— the prickly, hypersensitive bundle of ego, quick to take offense and even quicker to give it, who turns his friends’ dinner party into a psychodrama—that Underground Man, not the older, sadder but wiser narrator of the first part, who has gained a little self-awareness. Don Diego de Zama resents being posted to a provincial backwater without any of the privileges or prerogatives or responsibilities he feels ought to be assigned to a man of his rank and talents—talents we see no evidence of in his discourse or his activities. He never comes within miles of self-awareness.
Envious, resentful, given to petty and not so petty deceits and betrayals, eaten up by bitterness, Zama ought not to be enjoyable to read about, but sure enough, he is. He has no redeeming qualities. He bumbles obtusely from turpitude to turpitude, hypocrisy to hypocrisy. He has no sense of humor, no sense of perspective. The whole governance structure to which he is parasitically attached is rotten, overdue for collapse, and he has no idea at all that such a collapse is coming.
Yet the book is delicious, somehow. As with Notes from Underground, tracking the character’s progress is like watching a slow-motion train wreck. You don’t want to look away, even though you know it’s going to be terrible.