In the more recent fiction of a pacified Europe, a smooth EU-niversality prevails in place of the old strife within and between countries. Handke, such a late modernist that the party appears to have ended, is an Austrian who lives in Paris; but can you regularly identify the city or country his peripatetic characters are passing through, metafictional preoccupations in train? Much of the postwar European fiction, some of it very good, that we might read as World Literature — Perec, Bernhard, Nádas, Nooteboom, Jelinek, Marías, Sebald, now Knausgård — is extremely psychological in character and only vestigially social and geographical. Typically the narrator is a monologist, resembling the author, who tells of personal turmoil amid social stasis. He recognizes himself, with snobbish self-approbation, as a part of a stable polyglot pan-European elite; most other inhabitants of his country, as of the neighboring ones, are unthreatening idiots who turn on the TV after returning from work. The younger ones take drugs and dance to club music on weekends; the older ones go on package tours before dying of cancer. Nietzschean last men (and women), they can be roused neither to the self-promotion nor to the gun violence that lend spice to American life. Their tribune is Michel Houellebecq. Other big-name European novelists write books about personal relationships and international culture, and not much in between. Resigned to terminal minorness, this is a European novel written by, about, and for literary people who attain a critical mass only at the Frankfurt Book Fair, and then without taking the opportunity to riot against the European Central Bank. Many suicides occur in its pages. The wonder is there aren’t more.