Emily is a graduate of the University of Rochester’s MA in Literary Translation Studies program, and now lives in India, rubbing elbows with other awesome translators, and is also one of the contributing translators to Open Letter’s forthcoming Spanish fiction anthology. (She’s also the original East Coast version of me—or I’m the original Midwest version of her. For those of you who know either of us, you know both of us.)
Here’s a bit of Emily’s review:
It’s hard to boil down a wild, digressive, fantastical plot into a neat, compact, simple summary, but here’s an attempt: Clarke, a British naturalist, is traveling through Patagonia in, say, the 1830s, and as he meets more and more of the local Mapuche people, he gets more and more caught up in their mysterious politics as he’s asked to help find a chief who’s disappeared into thin air, all the while also searching for the so-called Legibrerian hare. And, for those of you following along at home, some parts of the story here are loosely (very loosely) based on actual events that took place in Argentina in, say, the 1830s. Juan Manuel de Rosas, “the Restorer of the Laws” himself, features in the opening of the book, and Calfucurá appears (and disappears) prominently as well.
The real star, though, is the pampas. This isn’t anything new—the Patagonian wilderness plays an important role in many of Aira’s books—but The Hare is all about the setting and its special, otherworldly properties. Clarke is obsessed with the pampas as heterotopia—a place where the otherwise impossible is possible, because the laws of physics that govern the rest of the world don’t seem to apply here. At least, the geometry’s wonky, and the way you can see (or can’t see) things on the pampas doesn’t always make sense.
For the entire review, go here
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .