November may be said to have four protagonists: a group of night-shift workers in Southeast France; their friends, relatives, lovers, acquaintances; the factory in which they work; the work itself. The focus is on two and a half hours during one evening in November 1976 and the plastic die-casting workshop where the men are employed. Staggering in scope, November is a virtuoso performance—a contemporary take on the classical modernist novel, anatomizing the ways we live, think, and labor: what we’ve lost, and what we’re losing.
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Christopher Woodall has by this point lived and studied in several European languages and places and worked at a variety of trades. Yet most of his writing still springs from a single, at first seemingly inconsequential, year-long encounter with a group of workingmen, in France, in 1976. At present, among other things, he is working on the second novel in the tetralogy initiated with November.
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