15 June 15 | Chad W. Post | Comments

This match was judged by Meredith Miller, a Foreign Rights Agent at Trident Media Group. You can follow her on Twitter at @merofthemillers.

For more information on the Women’s World Cup of Literature, click here or here. Also, be sure to follow our Twitter account and like our Facebook page. And check back here daily!

Assault on Paradise vs. Crow Blue pits two very different books from the Americas against one another in a David vs. Goliath match-up. Geographically speaking, Costa Rica is a mere .6% of the total landmass of Brazil, and its population 2.2% of its much larger cousin. Harder, if not impossible to measure is the significance of each country’s respective cultural histories replete with bloody colonization, uprisings, and political upheaval.

At their root, Assault on Paradise and Crow Blue are both stories of exodus—one propelled by the historical events that directly shape and forever alter one man’s life and the other a portrait of a young woman’s life indirectly shaped by the reverberations of a time and place she never knew. Through disparate means, both books achieve what I seek to gain reading literature in translation. Both stories place you directly in a time, with a people, either previously unknown or little-known, shrinking the world just a little bit more to better comprehend our shared collective experience.

In Adriana Lisboa’s Crow Blue (trans. Alison Entrekin), thirteen-year-old Vanja leaves her home in Rio de Janeiro for the suburbs of Denver in search of her biological father and her identity after the untimely death of her mother. Guiding Vanja on her search and assuming the role of de facto father is Fernando, an early ex-husband of Vanja’s mother with a violent past as a guerilla fighter. Multilayered, Crow Blue is also an exploration of Brazil’s sordid political history. The narrative deftly leaps from Vanja’s present day search in the Southwest, which brings together an unlikely family of three displaced souls; to Vanja’s carefree childhood on the idyllic Copacabana Beach with her mother; to the occupied portions of the Amazon in the 1970s with Fernando witness to the atrocities carried out by the Brazilian government. This is a novel that very much belongs to its characters, with prose lush and metaphorical, about the compelling need that we humans have to know who we are and from where we came.

Lisboa secures the first point for Brazil through Vanja’s keen and astute observations—well beyond her years—of migration, assimilation, family, and whether it is “possible for the people and culture of a place not to be enmeshed in the fabric of time and history.” Like many immigrants, Vanja feels the burden of being without a sense of place, observing that “after you have been away from home too long, you become an intersection between the two groups.” Like a Venn Diagram, you come to occupy the space in between. The adults in Vanja’s life have a penchant for entrusting her with their own personal histories. She, by turn, is adept at ferreting out the missing pieces of the story and filling in what is not readily offered.


In the second half, Tatiana Lobo scores successive points for Costa Rica with Assault on Paradise (trans. Asa Zatz) for its tragicomic wit, punchy, modern language in spite of its eighteenth century setting, and its unapologetic indictment of the Spanish colonization of Central America. This ambitious, sweeping historical novel follows the misadventures of Pedro Albarán, an escaped prisoner of the Inquisition who has made it to the new world in search of his own personal freedom. Unsure of the crime for which he was arrested, Pedro adopts the philosophy of “play dead dog; be all ears” and “undercover efficiency” to keep a low profile in this strange new world.

Despite his best efforts to lay low, Pedro cannot help himself from pontificating about the hypocrisies of the Church and government and from his obsessive admiration of the opposite sex, escalating his status at one point to living legend. On an expedition to atone for the governor’s transgressions, Pedro falls madly in love with a mute native woman without ever understanding her or the culture his countrymen aim to destroy. Lobo breathes a touch of Mayan mystique and mythology into the mounting tension and ensuing conflict. Though tedious at times to keep track of the many settlers’ names and back stories, Lobo has crafted an engrossing, swashbuckling tale of the tumultuous makings of Central America.

Lobo succeeds in giving a wag of the finger to the bloodthirsty Conquistadors while maintaining a smart sense of humor securing one goal for Brazil, slipping in phrases such as “crotch-transgressions” when the narrative moment calls for it. She scores a second goal for the win with the pace at which she is able to maintain throughout the story, spanning nine years and two continents.

Costa Rica: 2
Brazil: 1


Next up, Costa Rica’s Assault on Paradise will face off against either South Korea’s Nowhere to Be Found by Bae Suah or Spain’s The Happy City by Elvira Navarro on Friday, June 26th.

Tomorrow’s match will be judged by Sal Robinson, and features America’s Toni Morrison going up against Nigeria’s Chimamanda Ngozi Adichie when Home faces off against Americanah.

8 January 15 | Chad W. Post | Comments

This past weekend, my kids and I finally watched The Incredible Hulk—the final Marvel Cinematic Universe movie that we had to see to be all caught up before Avengers 2 comes out in May.

After the ultimately disappointing Hulk ended, my son wanted to binge on the new season of Doctor Who, which is available through our Time Warner On Demand service. This pissed his sister off in all the ways, since she’s generally offended when she’s not in charge of the situation, and especially when it involve the Doctor. (She says it a snotty British accent every time.)

Fast-forward through ten minutes of “But you ALWAYS get to choose” and “Stop being a brat,” “You’re the one who’s annoying. ALWAYS.” “Please, you two, it’s just T—” “DAD! HE punched me!” “But you just slapped his face.” “Because he was being annoying.” “AAARRRRGGGGHHHH!” And we finally agreed upon Spider-Man 3 because Aidan remembered loving the Sandman, and Chloë likes movies in which primary characters die.

So I went to Netflix. No Spider-Man 3. Amazon Prime Instant Video Extravaganza? Nope, not there. Time Warner’s Movies On Demand didn’t have it either. None of the systems that I subscribe to had this available for streaming.

Keep in mind that this is the shittiest of all Spider-Man movies, recent reboot included. It’s a total disaster with too many villains, a way too heavy reliance on random coincidences, and Peter Parker dancing all sinister-like after the black venom suit poisons his soul. (If you don’t believe me about how bad this movie sucks, listen to this episode of How Did This Get Made? or read Sam Raimi’s admission that he cocked this movie up.) This is not a Godard film, this is not art, this is barely entertainment, this isn’t something—given all the various media things I subscribe to and pay for—that I should have to really search for.

Which brings me to my old-man-yelling-at-the-trees point: If one of the significant outcomes of streaming services like Spotify, Netflix, etc., is a precipitous decline in pirated media, then studios and labels should make everything available there. This isn’t to criticize Four Tet or others who pull their stuff from Spotify on moral-financial grounds—I have issues with them, but this isn’t the article for that—but rather the creators who are already part of the system.

It used to be so much easier when you could just go to Blockbuster . . . Or when the local libraries were open every single weekend . . . It just seems ridiculous to me that my latest laptop doesn’t even have a built-in DVD player, that I pay $100 a month for cable and Netflix and Spotify and whatever, and that I resort to trolling bittorrent sites looking for a pile of crap that will finally shut down the argument my kids are having.

Oh, and thankyousoverymuch Swedish government for shutting down The Pirate Bay and making it more difficult for me to fill in the large gaps in all the services I pay for.

That’s what I became fixated on this past weekend while waiting 14,000 agonizing minutes for Spider-Man 3 to download: I used to use torrent sites and Napster and whatever just to get whatever new piece of media I was interested in. Album review sounds interesting? Swipe the album from Demonoid. I never watched a single show on actual TV, but instead downloaded all the episodes—with commercials trimmed out, naturally—and binge watched them all at the end of the season.

Part of the philosophy behind à la carte schemes and streaming services is premised upon the belief that, given a reasonably-priced, convenient option, people will pay for things that they would otherwise download illegally. (One could make the argument that cheap ebooks are helping curb some book piracy, although there are probably a billion people who don’t steal digital books because reading just isn’t part of their life.) For the most part, that has played out in my life. I watch TV via On Demand, which I assume is better for networks and their advertisers than if I just download the torrent. I listen to Spotify non-stop, and only ever download something if it’s not available there for an extended period of time. (I’m not opposed to bands holding out a couple weeks before making it available via streaming services.)

I’m more than willing to play this subscription sort of game instead of Napstering my library, so, please, Big Studios, make your awful (and good!) movies available on these services. My kids and my migraines will thank you for it.

The Vegetarian by Han Kang, translated from the Korean by Deborah Smith (Portobello)

I didn’t think about it until this very moment, but this book fits in perfectly with the situation described above . . . First of all, as you may already know from listening to the Three Percent podcast, my reading resolution for 2015 is to read more books from non-European, non-American (North and South) countries. Of the 80 books I read last year, only 8 were from African/Asian/Middle Eastern countries. That’s appalling, And my ratio of female to male authors was . . . well, embarrassing. (Only 25% of the books I read were by women.) But now I can read The Vegetarian, which fits both categories! And it’s translated by one of my favorite people, Deborah Smith. (Who will hopefully become your favorite translator when Open Letter kicks off its Korean literature series.)

Furthermore, this book—which sounds absolutely wild, with a woman deciding to become a vegetarian (essentially impossible to do in Korea), causing a rift with her husband, and eventually transforming her into a tree (?)—would fit in perfectly with my spring “World Literature & Translation” class. (I’ll post the syllabus at some point—it’s a pretty amazing list of books the students will be reading and translators they’ll be talking with.) As is destined to be, Portobello has sold the U.S. rights to The Vegetarian to Crown, so although they had the book listed on Amazon for preorders, it’s now only available in used editions. And Crown doesn’t list the book at all, so I can’t imagine it’s going to be formally launched here for some time.

Which means that my students will have to be ingenious in acquiring this. UK-based friends who can ship it over, or finding an e-version on the darknet. Or buying a used copy, bribing the library to get more than one in stock, borrowing mine. We’ll definitely figure it out—I’m determined to use this book—but it could all be so much easier . . .

The Guard by Peter Terrin, translated from the Flemish by David Colmer (MacLehose Press)

Speaking of things that took a while, I just double-checked, and we made an offer on The Guard in 2010. Then again in 2012, after MacLehose won world rights and was looking for a U.S. publisher. Once he started distributing in the States that offer no longer made sense, and a few years later the book is finally going to be available to all of you! Publishing is so slow and frustrating sometimes. Back in 2012 my enthusiasm about this book would’ve converted ten thousand readers!

This really is a brilliant piece of strange fiction. The opening section has a lot of strong Godot tones to it, what with two guards patrolling the parking structure of a possibly abandoned building. They never leave, since there may be a war going on outside, or perhaps the world has already been destroyed, so instead they stay loyal, doing their jobs diligently. Until . . .

I think fans of Volodine and contemporary quasi-sci-fi in that vein will really enjoy this. And hopefully some other reviewers will jump on this. (I haven’t received a galley, but I assume they’re out there somewhere.)

One other thing: The cover up there on the left is for the UK version, the one on the right for the U.S. Seriously. What the shit? I think maybe they were trying to sell U.S. readers on this by making it look like it’s been made into a movie? Too bad it just looks like the cover you’d see on any number of self-published “thrillers.”

Blood-Drenched Beard by Daniel Galera, translated from the Portuguese by Alison Entrekin (Penguin Press)

Galera was one of the most interesting writers featured in Granta’s special issue on “Best Young Brazilian Novelists,” so it’s great to have one of his books fully translated into English.

In addition to that, I’m excited to read this book because a) Galera has translated David Mitchell into Portuguese, and b) the main character, seeking information about how his grandfather really died, has a neurological condition that prevents him from recognizing faces. I know a girl with mild prosopagnosia and I think it’s kind of fascinating. You could make a terrible _50 First Dates_-esque movie out of this condition, or something way, way cooler . . .

Tesla: A Portrait with Masks by Vladimir Pistalo, translated from the Serbian by Bogdan Rakic (Graywolf Press)

Similar to my love for Philip K. Dick, I don’t think I’ll ever tire of reading about Tesla and his life. His life and mind are fascinating, and have inspired a few great books, including Samantha Hunt’s The Invention of Everything Else and Jean Echenoz’s Lightning. It will be interesting to see how Pistalo’s portrait of Tesla fits in with the others.

And, in case you aren’t convinced of the awesomeness of Tesla, I give you this:

Thus Were Their Faces by Silvina Ocampo, translated from the Spanish by Daniel Balderston; Select Poems by Silvina Ocampo, translated from the Spanish by Jason Weiss (NYRB)

Silvina Ocampo is one of those authors who a lot of Latin American literary enthusiasts have heard of, but probably never read. I mean, her stories have been published, but my sense is that she’s always been overshadowed by her sister Victoria (founder of the journal Sur and publisher of Borges and that generation of Argentine writers), by her husband Adolfo Bioy Casares, and by other (primarily male) Argentina writers of the mid-twentieth century. Which sucks, and is thankfully being somewhat rectified by NYRBs two publications: a comprehensive selection of her short fiction, pulling stories from her seven collections; and the first volume of her poetry to ever appear in English. This is huge, this is classic, this is worth getting your hands on.

If you’re not yet convinced, here’s a selling line from Jorge Luis Borges’s preface to Thus Were Their Faces: “In Silvina Ocampo’s stories there is something I have never understood: her strange taste for a certain kind of innocent and oblique cruelty.”

Frog by Mo Yan, translated from the Chinese by Howard Goldblatt (Viking)

This is the first book Mo Yan has published since winning the Nobel Prize, and I’m very interested in seeing how the critics and readers react to it. In contrast with Pow! this seems to be more of a critique of China, focusing on a midwife who proves her loyalty to the Communist Party by performing late-term abortions and making everyone in her village adhere to the one-child policy. I haven’t read much of Mo Yan’s work, but what I have read is much more literary, stylized, playful, and interesting than a straightforward social critique. Regardless, he is a prose-master, and this book seems like as good a place as any to getting in to his oeuvre.

God Loves Haiti by Dimitry Elias Léger (HarperCollins)

I read a chunk of this way back when, at a time when Dimitry sent this to us on submission. He compared it to José Saramago with a plot more in the Graham Greene mold. In terms of the prose, “it’s English mixed with French and hip-hop slang, befitting my Haitian-Brooklyn and former rap music editor roots.” And damn, it really is a great book. But at the time—and still, I suppose—we were focusing on translations, whereas this was written in English, and didn’t feel like we could adequately promote a book like this with our existing reputation.

Dimitry and I stayed friends though (in part through our joint love of Arsenal—GO GUNNERS!), and I have to admit, after seeing on Facebook all the promotions he’s doing for this—NY launch parties, events with Francisco Goldman, interviews on NPR, blurbs from Junot Diaz, Edwidge Danticat, a review in the New York Times—I’m really glad we passed on this. Obviously HarperCollins can do more for a book than Open Letter, and it makes me smile to see all the great things that are happening for God Loves Haiti and Dimitry.

This is the sort of book that I think I could get our Rochester book club to read, and one that I will be personally reviewing on Three Percent—fulfilling a promise I made to Dimitry some years ago.

The Alphabet of Birds by SJ Naudé, translated from the Afrikaans by the author (And Other Stories)

And Other Stories continues to impress, book after book, and this story collection from this new voice in South African fiction is no exception. Here’s a bit from Damon Galgut’s introduction that both explains the title and gets at what makes Naudé’s writing interesting:

It’s ironic that a writer like Naudé, who uses words with elegant exactness, should find them so obstructive, but he does. “You’ve talked enough,” one character is told. “Talking is over.” What will replace speech, in this instance, is violence, but in other stories the implications are gentler: “You should learn to do without words,” a character says. “There are better things.” He means dance, which is another sort of language. Or maybe music will lead to the truth. And if that doesn’t work, even harmony can be broken down: a noise machine, which speaks with hisses and roars and bands—maybe that will do the trick.

But how can there be an answer, if we don’t even know the question? Like their central characters, the stories seem to begin and end in mid-air. Who will finish writing them for us? The birds, Naudeé tells us. A bird trapped in a house eventually flies out, leaving shit “on the interior walls, like crooked letters. Like Eastern calligraphy. Maybe that is an ending.”

Maybe it is. But in order to understand, you would have to speak in impossible symbols. It is this missing resolution, cryptic letters written in bird-shit, that embodies the mystery at the heart of these narratives. Cool and intelligent, unsettling and deeply felt, Naudé’s voice is something new in South African writing.

Minute-Operas by Frédéric Forte, translated from the French by Daniel Levin Becker, Ian Monk, Michelle Noteboom, and Jean-Jacques Poucel (Burning Deck)

I do an awful job of including poetry on these monthly preview write-ups, partially because I feel way out of the loop in terms of contemporary international poetry, and partly because I never know what to say about these books. (Not that I never go on tangents or rants or anything . . .) I’m going to do a better job of including poetry, especially when it looks like this:

And is described like this:

Frédéric Forte’s Minute-Operas are poems “staged” on the page. A simple vertical line of 3 inches separates what Forte calls the stage and the wings. The poet explores the potential of this form with multiple typographic games, calling on different registers of the language, different poetic techniques and, in the second part of the book, by “fixating as minute-operas” 55 existing poetic forms (come out of various poetic traditions or more recently invented by Oulipo, the famous French “Workshop for Potential Literature.”)

The Dark Ship by Sherko Fatah, translated from the German by Martin Chalmers (Seagull Books)

This is probably the heaviest book I could’ve chosen to end this month’s column . . . A young Kurdish boy growing up Sadaam Hussain’s Iraq, witness to the atrocities that defined that era, a boy who is then captured by jihadists and ends up joining them before narrowly escaping to Germany . . . Not exactly a laugh a minute, but then again, not all art that you experience should be, at least in my opinion.

Speaking of, Nick Horby kicked the proverbial hornet’s nest with his recent statements, no?

Nick Hornby, the bestselling novelist, has argued readers should put down difficult books immediately if they are not enjoying them.

Battling through them, he said, would only condition people to believe reading is a chore, leaving a “sense of duty” about something you “should do”.

Instead, Hornby argued, reading should be seen more like television or the cinema, and only undertaken as something people “want to do”. [. . .]

“My real campaign is to get everybody – adult, kids, everybody – to read something that they’re loving.

“And if they’re not loving it, stop reading it.”

He added: “Every time we pick up a book for a sense of duty and we find that we’re struggling to get through it, we’re reinforcing the notion that reading is something you should do but telly is something you want to do.

“It shouldn’t be like that. Novels should be like TV. It shouldn’t be hard work and we should do ourselves a favour.

“It doesn’t mean you have to read easy books, because you can have very complicated connections to very difficult books, but as long as you’re racing through it, that’s the thing.”

This is definitely something I think Tom and I should talk about on the podcast. In one sense, I agree with Hornby—being forced to read something you hate isn’t going to make you want to read more, and at the same time, a lot of readers will quite enjoy books that are “difficult” and find “easy” ones to be the ones that are a chore to get through. (Not to mention, my like for superhero movies and shows is pretty well-established, so it’s not like I do nothing but read Important, Challenging Texts all the time.)

On the other hand though, there’s a fine line between “enjoyment” and “uncomfortableness,” and I suspect a ton of readers hearing his advice will conflate the two and stop reading any and every book that has a character they “can’t relate to.” There is a path leading from his statement to a cotton candy world in which you only read things that reinforce your prejudices, and that sort of scares me.

Also, the comparison with TV is a bit strained, since your brain on TV is different than your brain on books, which is a part of the reason why watching TV is so “easy.” Even when a TV show is a slog, or “difficult,” you can passively let the boring parts drift by, and suddenly it’s over. The way TV and books are consumed is different, in my opinion. I guess I have a bit of a knee-jerk reaction to flippant comments like this because I’ve seen the way readers feel intimidated by even the most straightforward of books, and enabling them to constantly avoid anything that might seem like “work” to them could lead to an even more vapid culture. “Fuck The Catcher in the Rye! This isn’t as fun as the Kardashians! TV RULES!”

15 July 14 | Chad W. Post | Comments

Now that the World Cup of Literature is officially over, with Roberto Bolaño’s By Night in Chile taking home the prize, it’s time to get back to writing normal blog posts, starting with this much overdue “preview” of forthcoming July translations.

My initial plan with this post was to write it “live blog” style from Las Vegas where I was last month for the American Library Association conference. Unfortunately, many things got in the way of that, starting with the $14.95/day wifi costs in my hotel (Open Letter saves its money to spend on translators, not to allow me to make dumb jokes!), not to mention the 9am kickoff for the World Cup games, and the alcohol that I drank (see insane Eiffel Tower drink below).

So, instead, I’m going to try and work some of my observations into the write-ups below. But, unlike the music industry, which hasn’t brought out much of anything good this month, publishers are dropping some awesome stuff this summer. Bitov, Robbe-Grillet, Volodine, Haas, Can Xue . . . There are some legit overviews below to go with the usual assortment of random crap.

But to set the scene a bit: Way back when, before BEA locked itself into being in Jacob Javits’s glass house for a decade (or whatever), the show was supposed to take place in Las Vegas. Given the nonsensical nature of BEA and its parties, I couldn’t wait for this show. Booksellers AND strippers??! Lowly publicity assistants blowing their per diem at the craps table?? More drunken beardos than the streets of Brooklyn after a Pavement concert! SIGN ME UP.

Unfortunately, that BEA got moved to the Western West Side and was like every other BEA: A bit unfocused, a bit depressing, and a bit self-congratulatory.

Fast-forward a bunch of years, and now, when I’m too old to fully rock out anymore of course, I finally get to attend a convention in Vegas. One with fellow nerdy book people! Heading into it, I figured this was going to be great, and that I was going to lead at least a dozen librarians into nights of bad decision making.

Just to pause for a moment though, these are the people who attend ALA:

And those are the librarians from Austin. So, yeah. Vegas. Librarians. Books, booze, and gambling. Free flowing liquor. Temps above 110. My never-ending depression. What could possibly go wrong?

The Last Lover by Can Xue, translated from the Chinese by Annelise Finegan Wasmoen (Yale University Press)

Can Xue has to be the female Chinese author with the most books translated into English. She’s been published by Henry Holt, Northwestern, Open Letter, Yale, and has appeared in a number of issues of Conjunctions. Part of this is because she’s a fucking brilliant and strange writer, part of this is due to her natural charm. I finally had a chance to meet her in person last fall at the Reykjavik International Literary Festival (see our interview) and immediately signed on another of her novels, Frontier. This isn’t much of a secret, really, but publishers like to work with people they like. I’ll happily sign on a book that’s an 8 out of 10 instead of a book that’s a 10 out of 10 if the author/translator is someone that I really respect and like working with.

Which is why certain people won’t ever translate anything for Open Letter. Ever.

And I’ll bet you were expecting the “last lover” to lead to some sort of joke about escorts and Vegas and librarians . . .

Rachel by Andrei Gelasimov, translated from the Russian by Marian Schwartz (Amazon Crossing)

This is the fourth of Gelasimov’s books that Amazon Crossing has published, three of which (including this one) are on sale for $1.99 right now. Say what you will about pricing, Hachette, and the decline of modern civilization, this is worth taking advantage of if for no other reason than the fact that Marian translated the books. She’s one of the most amazing translators we’ve got, and if she loves an author—like she does with Gelasimov—everyone should pay attention.

A Sentimental Novel by Alain Robbe-Grillet, translated from the French by D.E. Brooke (Dalkey Archive Press)

In Vegas, I stayed in Bally’s hotel, which is attached to the Paris hotel. Or rather, Le Paris hotel. For those of you who haven’t been to Vegas, consider yourselves lucky. The Paris hotel includes a huge replica of the Eiffel Tower, which you can go up in on the “Le Eiffel Tower Adventure,” the tickets for which can be purchased next to “Le Bar,” which is across the way from “Le Toilettes” by “Le Sports Book.” I’m not even fucking with you—all the signs in this hotel have “Le” appended to them. Ninety percent of the time, these make no sense—shouldn’t it be “Les Toilettes”?—and the other one-hundred and ten percent of the time this is stupid as shit. It’s like the worst simulacrum ever.

On the upside, they do sell the “Le Eiffel Daiquiri,” a two-foot tall Eiffel Tower “glass” filled with 10-12 shots of rum. All for $16.95! Well, $16.95 and most of your better judgement.

Come, Sweet Death! by Wolf Haas, translated from the German by Annie Janusch (Melville House)

The U.S. vs. Germany World Cup match took place the first morning that I was in Vegas. I had talked a lot of shit to Nick from NYRB about getting up super early, finding a crazy bar to watch it in, etc., etc., but at 8am when my alarm went off, I thought I’d rather just stay in bed and avoid all the American Outlaws. One problem: no matter where I looked, I couldn’t find the remote for my TV. Not on the TV stand, not in any of the drawers, not on top of the armoire, not under the bed, nowhere. So I rushed out, basically ran across to the one sports bar I already had scoped out, and ordered a coffee. Surprisingly, they did have coffee, but no coffee mugs . . . Instead, they served me a pint of coffee with a little sleeve so that I wouldn’t burn the shit out of my hand. A pint of coffee.

This was one of my favorite Vegas experiences though, since I was seated between two dudes who chain smoked the entire game while playing video poker and downing screwdrivers. They had clearly been there all night, and were holding on to shreds of dignity and hope. Neither of them won jack, and one guy’s friends never came to collect him from wherever they had been partying all night.

I did end up partaking in the $2 beer specials, which was probably the reason I fell asleep at the hotel pool a few hours later and woke up as red as I’ve ever been in my life . . . I’m still peeling . . . Once you turn 40, a 9am beer is the equivalent of twelve evening drinks. This is a life lesson for all you youngsters: Enjoy your wake’n‘drink days before your body starts to hate you.

Symmetry Teacher by Andrei Bitov, translated from the Russian by Polly Gannon (FSG)

Of all the books on this list, this is the one that I’m most excited to read. I loved Bitov’s Pushkin House (which Dalkey reissued a number of years back), and Michael Orthofer gave this one an A-. Based on the description—that this is an “echo book” of a book that Bitov once read and foggily remembers, but that leads him to create a series of self-reflexive, nested stories—it sounds like a fun, complicated game of a novel. And Orthofer really sells it with this:

The different stories that make up the novel are not so much unfinished or incomplete, but rather part of an overlapping continuity that probably can best be compared to an Escher loop (or loops of Escher loops . . .): not neatly nested, à la Calvino, or adhering to some similar determined Oulipian schemes, but rather capriciously folding back on themselves across time and space, the author’s guiding hand in the frame but handing off responsibility in his layers of authorial invention, attributing a great deal to A. Tired-Boffin, who in turn credits Urbino Vanoski. etc. [. . .]

The Symmetry Teacher is about books and reading and writing that transcend the actual set text — literary echoes that arise and exist separately from what is in a fixed, written state. This is a novel where, typically, a character enthuses about his vivid memory of a particular scene — but admits he no longer can find it.

Poetics of Wonder: Passage to Mogador by Alberto Ruy Sanchez, translated from the Spanish by Rhonda Buchanan (White Pine)

Alberto Ruy Sanchez is included in our new anthology, A Thousand Forests in One Acorn, which may well be the most beautiful book we’ve ever published. Edelweiss does the design no favors, but you should click that link to see how amazing this is, and to request a digital reading copy. (Although you really should just buy the real thing.)

I’m sure most people already knew this, but Vegas has a monorail, which, every single time I saw it referenced, reminded me of this Simpson’s epidode:

Why this song isn’t playing continuously on every monorail platform is a failure on Vegas’s part.

Writers by Antoine Volodine, translated from the French by Katina Rogers (Dalkey Archive)

To prepare for our upcoming pre-sales call, I just started reading all the Open Letter titles scheduled to come out in 2015 between April-August. Antoine Volodine’s Post-Exoticism in Ten Lessons, Lesson Eleven (which, according to at least a few reviewers, is far superior to Writers), Georgi Gospodinov’s The Physics of Sorrow, Naja Marie Aidt’s Rock, Paper, Scissors, Juan José Saer’s The One Before . . . Obviously, I love the books we publish, but this is that period of time when the dyssynchrony of being in the book world are the most apparent. We got the rights to Physics of Sorrow back in September of 2012, and no one else will be able to read this before the end of the year. But I read (or rather, reread) the first 50 pages last night, and I want everyone I know to have access to this right fricking now. It’s one of the best things I’ve read all year. But by the time I can mail it out to people, I’ll be reading the book coming out in January 2016 and my desire to talk Physics with other book people will be somewhat dulled. And by the time ordinary readers (compared to booksellers and reviewers who will receive advanced reading copies) get their hands on this, we’ll be reading excerpts and signing on books for 2017.

I’m not sure I have a real point here, just that books and music are most of my life, and it’s a weird experience when you remember that huge portions of your “life” are spent reading in a social void of sorts. That and: you all must read Post-Exoticism in Ten Lessons, Lesson Eleven and The Physics of Sorrow. As soon as they come out. And then email/tweet/text me.

Crow Blue by Adriana Lisboa, translated from the Portuguese by Alison Entrekin (Bloomsbury)

I just want to point out that this book is listed on the Bloomsbury website as part of Bloomsbury Circus. What the fuck is that, you ask?

Bloomsbury Circus is a place of fine writing from all over the world. There are exciting debuts and brilliant new work from such established writers as Patrick McGrath, Lucy Ellmann, Alice McDermott and Tobias Hill. Like any good circus, it is a list that is not frightened to take risks, while always being entertaining.

So, by “all over the world,” they mean Britain, Scotland, and America? Maybe those are the “three rings” of this “circus”? Bloomsbury, your metaphor sucks. “Bloomsbury Circus” sounds like the publisher of kids books about acrobats and fucking clowns.

Matiushin Case by Oleg Pavlov, translated from the Russian by Andrew Bromfield (And Other Stories)

I think it’s pretty ironic that & Other Stories which has the URL “stories.com” is a bag/accessories/shoes/lingerie shop. Why “stories”?

Speaking of random shops though, there’s a Britney Spears Boutique in Vegas. I assume that it’s wall-to-wall signed copies of Crossroads.

Mr. Gwyn by Alessandro Baricco, translated from the Italian by Ann Goldstein (McSweeney’s Books)

I haven’t made fun of Flavorwire’s list in a while, but this one on the 35 Writers Who Run the Literary Internet deserves to be laughed at. When I clicked on this, I was hoping for some conspiracy theory shit linking an unknown writer to media leaks about how Amazon burns 13 Hachette books a day as part of some corporate ritual, or something interesting like that. Instead, it’s a list of writers with the most Twitter followers. Because Twitter equals the Internet and having the most followers is equivalent to “running it.”

(Except for Zadie Smith! “She’s one of the few big-name writers who has managed to develop a huge Internet presence without even seeming to spend much time online.” In other words, she’s a writer that people really like. How does she even fit in under the “Runs the Literary Internet” rubric? According to the description, what she “runs” is her own writing. Whatever.)

I know—and respect—some of the people on this list, others make me want to scratch my eyes out when I hear them speak on panels, most I don’t “follow” and, to be honest, don’t feel like I’m missing anything . . . Also, I know Flavorwire exists to create log-rolling lists as clickbait and to get the “listed” people to retweet the lists, generating more clicks and ensuring that these people (the listed) can end up on be on more lists and everyone can all end up at the same over-priced Brooklyn speakeasy drinking PBRs and old fashioneds. So this isn’t anything personal against anyone involved—everyone is awesome.

That said, I love this comment: “Dear Flavorwire, America is not the world, for Chrissakes.” Having fallen for way too many Flavorwire headline teases, I can assure you that, in the eyes of Flavorwire, America and Karl Ove Knausgaard ARE the world.

Secondly, the pictures of the women screaming with their mouths open? Is this a new meme? It’s very unsettling.

Also, the only good thing about the World Cup being over is that Teju Cole will no longer be tweeting about it. I know he’s got a million and one fans who will “rise as one” to annihilate me, but to be honest, I think his World Cup tweets were the worst. So self-absorbed and pedantic and boring. Kaija’s #WorldCupTaunting bits were edgier, funnier, and much more entertaining than things like “Guillermo ‘CTRL S’ Ochoa.”

Nothing was as bad as the #thetimeofthegame “idea.” Just check this out:

What’s funniest to me is that he took a screen cap of his own Twitter feed as his #thetimeofthegame entry. Twitter is like a Bloomsbury Circus of crap.

(Also, I know that these rants are why Open Letter books never make Flavorwire’s lists, for which I apologize to all our authors and translators. My jokes about things that suck shouldn’t represent Open Letter, but I’m afraid that some people take it that way.)

Guantanamo by Frank Smith, translated from the French by Vanessa Place (Les Figues)

I feel like explaining what I specifically didn’t like about Las Vegas will come off as a string of clichés . . . but that might be due to the fact that there’s no real separation from the depiction of Vegas in movies and TV shows—its excesses and bright lights and frenetic nature—and what it’s really like. The whole strip area is set up as one huge experiment in behavioral economics designed to get people to spend too much money and make terrible decisions. Every hotel is connected to every other hotel by way of thirteen areas stuffed with gamble machines. It’s all flashing and no straight path is actually straight. In between, the Paris and Bally hotels, you walk down a “hallway” that veers this way and that, coming out into a room of slots and tables and no idea which way to turn. This disorientation—a key behind shopping malls—facilitates the spending of money. The fact that there is no sense of time—it could be noon or five am—adds to this, and quickly turns a few drinks into an all-night bender involving $17 drinks with 12 shots of rum. That’s why hotel staff keeps asking “are you OK?” in that tone that implies that you might well need medical attention but just don’t realize it yet.

Vegas wants you to walk that fine line between “drunk enough to spend ten times what I was planning on” and “alcohol poisoning.” We were in a bar where you could order a kilo of cavier for $7,200. A kilo. Who the fuck says, “could I get a kilo of cavier please?” Someone who just won big at the blackjack table. Who believes this is “free money” and that the best way to get value out of this free money is to blow it in one big huge, story-creating sort of way: “Dude, I won ten grand at a poker tournament and bought Cristal and a kilo of cavier and hit up the strip joint and puked in the Bellagio fountain. It was fucking epic!”

Thing is, maybe Vegas is right. Maybe a life of books and music is totally overrated. (And that’s one more thing: culture really doesn’t seem to exist in Vegas. I’m sure it does, out in the city, in pockets, outside of the Stratosphere and the High Roller and everything else that sucks, but when you think Vegas, you think Celine and Britney and Carrot Top — Carrot Top! — none of which are interesting or novel or worth dropping $100 to see.) Vegas represents a cultural black hole where anything goes, where you can escape your normal shitty life and believe for a time that you’re a VIP, that you could win millions by betting on black, that the next drink will make you attractive. It’s supposed to be a place of ultimate freedom, but those freedoms seem, to me, as a cynical depressed bastard, to only involve cheap sex, all the drinking, and the highly unlikely dream of easy money.

Invisible Love by Eric-Emmanuel Schmitt, translated from the French by Howard Curtis (Europa Editions)

I went to two “parties” during ALA: one about “gaming and cosplay,” the other sponsored by Central Recovery Press.

No one was cosplayed up for the gaming one, and apparently, in the library world, “gaming” means “board games.” As in, twenty librarians were sitting around a well-lit room playing board games. And no, there were no drinks. I lasted less than 30 seconds. Even BEA does better than that.

Central Recovery is a very admirable press dedicated to helping people overcome their addictions. Their party was out at Vegas City Hall, which is so much more interesting than the strip. It also seems like it’s in the middle of nowhere, past the “Gambling Supplies Warehouse” and just out of sight from Circus, Circus. A special shuttle bus had to bring us there, since walking that far—even from the last monorail stop—would basically leave you dehydrated and dead. Good thing the Central Recovery party had all the Coke you could desire! (I was expecting coffee and donuts, but alas.) Anyway, aside from the fact that I’m not in AA and prefer parties with beers, this set up would’ve been totally fine if I hadn’t have overheard someone say “the speeches will start in about 15 minutes” just as the bus, the only link to civilization, pulled away. I can live without wine, but living through multiple speeches—or a poetry reading lasting more than 10 minutes—is tough . . .

Nevertheless I survived, regained my non-sobriety at the Peppermill, and made it back from Vegas with my mind only slightly broken . . .

12 June 14 | Chad W. Post | Comments

This match was judged by Jeffrey Zuckerman. For more info on the World Cup of Literature, read this, and download the bracket.

The last time I watched a soccer game was in the last World Cup, in July of 2010. I had just graduated and moved off campus with my roommate from college. Down the block, a bar was packed with fans, and we forked over a few dollars for a pitcher of Heineken. Neither of us was sure whether the orange shirts were the Dutch or the Spanish—but we were pretty sure the orange shirts were the ones to cheer for. My roommate liked the team from the Netherlands because he was a linguist and preferred Dutch to Spanish. And I was cheering for Gerbrand Bakker’s team because I had just read and loved The Twin.

Four years later, I’ve settled into another city. And yet I live down the street from another bar which, because it specializes in imported beers, promises drink specials for the entirety of the World Cup. Plus ça change . . .

. . . plus c’est la meme chose. I’m being asked to pick the better country based on books I’m reading. Today is the first day of the World Cup in Brazil, so Cameroon has the honor of facing off against the host country. Meaning I have to judge a title from each nation—Cameroon represented by Leonora Miano’s Dark Heart of the Night, and Brazil represented by Chico Buarque’s Budapest.

I’ll be “that judge” and crush your readerly hopes right now: this wasn’t much of a match-up. There was no special home-field advantage or dark horse in the running here. One book crashed and burned and made me think about why it had even been translated; the other was so radiant and fresh that I wanted to translate it anew.

A quick and clinical overview, first, so you know what we’re talking about here. Leonora Miano’s Dark Heart of the Night is the story of Ayané, and the village to which she returns despite having escaped to a cosmopolitan life, and a mass of rebels who bring ruination upon the village. It is a harrowing book, viscerally painful, and told in the distant, knowing voice of a local oral storyteller. Chico Buarque’s Budapest, in contrast, is a meandering and phantasmagoric fever dream that shuttles back and forth between Rio de Janeiro and, yes, Budapest as a ghostwriter composes texts, finds himself replaced by near-perfect copies of himself, and falls in love with Hungary’s singular language and even more singular denizens.

Dark Heart of the Night is shackled by many factors that work against its success. Its title is an unfortunately liberal translation of the original title, L’intérieur de la nuit—the Heart of Darkness allusion hurts more than helps the book—even as the cover plays off the design clichés that i>Africa Is Not a Country rightfully condemns. Despite the careful and insightful translation, however, the narrative voice driving Miano’s entire book made it nearly impossible for me to move from sympathy to full-hearted empathy. Perhaps this narrative style was intended to make the horrors of the story less immediate; the effect, with so many explanatory asides and all its descriptions at a remove, made the story feel like a copy of a copy of a copy of a story I had once been told about “Africa,” writ large. The country is a nameless one (not Cameroon); the rebellion is a vague one (not like any of the civil wars or unrest in recent history); and the village’s primitiveness is so stark as to feel unreal. Cameroon is, in reality, far more complicated and modern than we might be led to believe from this novel. To give just one example: for all the abject poverty suffered throughout the continent, cell phone usage is extraordinarily high because of its advantages for communication and even for finances. I hoped for a novel that would give me a clearer picture of Cameroon (or even Africa) as it is now, and I was disappointed to read a novel that told me, at a remove, about an idea of Africa. Ultimately, I found myself scratching my head: what was different or special about this novel that the French Voices committee had seen fit to grant money toward its publication in English? The only answer I can plausibly think of is that it is a historical document of sorts. Its explanations and descriptions may provide a certain context to readers scarcely aware of Central Africa. But that hardly seems like reason enough to publish and share a book.

In contrast, Budapest continued to shock me and amaze me as I turned its pages toward its end. It seems odd that it should have surprised me: I had read most of it about six years ago after being given an excerpt, in French, to translate into English. It was an assignment from my French teacher, who had discovered the book while abroad with her husband over break. The two of them knew French and English and, preferring not to privilege one translation over another, had bought the two versions of Chico Buarque’s original. (To this day, when somebody mentions their knowledge of Buarque as a famous musician, I have to mentally square that with my image of him as a solitary author.) The whole book itself centers on doubles and replacements and, yes, repetitions: a phrase at the beginning recurs in the book’s final pages; the two cities and the narrator’s two lives seem to parallel each other with the same struggles and challenges, even as the narrator becomes a copy of himself, replicating in Hungary the same ghostwriting work he had done in Brazil, until he surpasses the master for which he has ghostwritten—an appropriate parallel to the moment when he realizes, in Brazil, that his boss has trained many young employees to write as perfectly, as precisely as he does, to the point that he worries he cannot even think a thought without their having already set it down on paper. As he finally writes a poem of his own, he realizes that “The words were mine, but they had a different weight. I wrote as if I were walking through my own house, but in water.” The clarity and beauty of this image is not atypical of the entire book; each page glides with a musical fluidity fully enabled by Alison Entrekin’s keen translation—one that manages to portray in English the grammatical quirks of (at times) Hungarian-flavored Portuguese or a Portuguese that reflects a Portuguese-fractured phrase in Hungarian. I could remember the process of carefully converting each sentence from the French my professor had given me to English; even accounting for the fact that I was translating a translation, Entrekin’s work outstripped mine entirely. I closed the book, and images came unbidden of Rio de Janeiro’s narrow alleyways and quarrelsome relationships, and the ever-yellow (or is it ever-gray?) of Buda and Pest seen from the air, the two halves of the city split by the Danube.

I did say this wasn’t much of a matchup. On the soccer field (or, ahem, football field for all you non-Americans reading my embarrassingly provincial commentary), Cameroon has been a frontrunner among the many teams hailing from the African continent, but its literary entry into the Tournament of Books can’t even get a single goal past Brazil’s writers—especially not when that team includes Chico Buarque and Budapest.

The score’s a pretty clear-cut one: 4-0 Brazil.


Jeffrey Zuckerman is Digital Editor of Music & Literature. His writing and translations have appeared in The White Review, the Los Angeles Review of Books, Best European Fiction, and The Quarterly Conversation. In his free time, he does not listen to music.


Did Budapest Deserve to Win?


13 July 12 | Aleksandra Fazlipour | Comments

The latest addition to our Reviews Section is a piece by Quantum Sarah on Clarice Lispector’s Near to the Wild Heart, which is translated from the Portuguese by Alison Entrekin and is available from New Directions.

Here is part of her review:

“He was alone. He was unheeded, happy, and near to the wild heart of life.” This is the epigraph, borrowed from Joyce’s Portrait of the Artist as a Young Man, that captures the modernist spirit so essential to Clarice Lispector’s revolutionary novel, Near to the Wild Heart. As her fierce and precocious protagonist struggles through adolescence and young adulthood, Lispector offers a wealth of luminous meditations on human nature, consciousness, individuality, and God. In this new translation by Alison Entrekin (New Directions, 2012), the intensity and brilliance of Lispector’s prose thrills to life. Surprising, powerful, and revelatory, Near to the Wild Heart recounts with unforgettable candor the life of an audacious young woman in modern society.

Lispector’s breakthrough novel rose to instant and lasting fame in Brazil upon publication in 1943, and it’s no wonder: the ideas presented within are mind-blowing. Take, for instance, Joana’s description of what it feels like to be in a relationship:

Click here to read the entire review.

13 July 12 | Aleksandra Fazlipour | Comments

“He was alone. He was unheeded, happy, and near to the wild heart of life.” This is the epigraph, borrowed from Joyce’s Portrait of the Artist as a Young Man, that captures the modernist spirit so essential to Clarice Lispector’s revolutionary novel, Near to the Wild Heart. As her fierce and precocious protagonist struggles through adolescence and young adulthood, Lispector offers a wealth of luminous meditations on human nature, consciousness, individuality, and God. In this new translation by Alison Entrekin (New Directions, 2012), the intensity and brilliance of Lispector’s prose thrills to life. Surprising, powerful, and revelatory, Near to the Wild Heart recounts with unforgettable candor the life of an audacious young woman in modern society.

Lispector’s breakthrough novel rose to instant and lasting fame in Brazil upon publication in 1943, and it’s no wonder: the ideas presented within are mind-blowing. Take, for instance, Joana’s description of what it feels like to be in a relationship:

Just as the space surrounded by four walls has a specific value, provoked not so much because it is a space but because it is surrounded by walls. Otávio made her into something that wasn’t her but himself and which Joana received out of pity for both. . . Besides: how could she tie herself to a man without allowing him to imprison her? How could she prevent him from developing his four walls over her body and soul?

This startling metaphor is remarkably precise: haven’t we all felt, at one time or another, “enclosed” by a loved one, albeit protected? Don’t the structural walls of relationships also compromise our identity, defining us with a substance that is not ourselves? Add to these astute insights Lispector’s radical writing style, which mirrors the process of thinking – much like in Woolf’s The Waves. Though nominal events do take place in the text – Joana’s father dies; Joana goes to live with her aunt; Joana attends boarding school, gets married, and leaves her husband – inner mental life constitutes the book’s central concern. Fraught with dense introspection, many pages are devoted solely to Joana’s philosophical quandaries:

. . .She asked herself many questions, but she could never answer herself: she’d stop in order to feel. How was a triangle born? As an idea first? Or did it come after the shape had been executed? Would a triangle be born fatally? Things were rich. – She would want to spend time on the question. But love invaded her. Triangle, circle, straight lines. . . As harmonious and mysterious as an arpeggio. Where does music go when it’s not playing? -She asked herself. And disarmed she would answer: may they make a harp out of my nerves when I die.

Indeed, Joana is a beautiful thinker, but the wilderness of her imagination also isolates her from others. Other characters perceive her with confusion, sometimes labeling her “evil” or “unfeeling”: “She’s a cold viper, Alberto, there’s no love or gratitude in her,” her aunt says. On the other hand, her husband, Otávio, is baffled by the fatal mix of attraction and repulsion Joana arouses in him. Nonetheless, he can’t deny the way she profoundly impacts his life: “She would rise up in him, not in his head like a common memory, but in the center of his body, vague and lucid, interrupting his life like the sudden pealing of a bell.” A sort of irony emerges in the push-pull attitude Joana exhibits toward relationships, alternately embracing others for the comfort they promise and rejecting them when they burden her.

I question whether the actions and emotions Joana unleashes are really “evil” – they’re intense, for sure, but I think Joana is better described as amoral. And it’s precisely this lack of conventional mores that allows her to imagine and discover so much: because she moves through life without needing to label anything ‘good’ or ‘bad,’ Joana can think unrestrained. No thought or feeling is taboo for her, even if it proves her animal nature. If a man devouring meat allures her, or if contrived human “goodness” disgusts her, she’s not embarrassed or afraid to report it with gritty impartiality:

. . .goodness makes me want to be sick. Goodness was lukewarm and light. It smelled of raw meat kept for too long. Without entirely rotting in spite of everything. It was freshened up from time to time, seasoned a little, enough to keep it a piece of lukewarm, quiet meat.

. . . she had seen a greedy man eating. She had secretly watched his bulging eyes, gleaming and stupid, trying not to miss the slightest trace of flavor. And his hands, his hands. One holding a fork with a piece of bloody meat (not warm and quiet, but very much alive, ironic, immoral) skewered on it, the other twitching on the tablecloth, pawing it nervously in his urgency to eat another mouthful already. . .The ferocity, the richness of his color. . . A shiver had run down Joana’s spine, with the sorry cup of coffee in front of her. But she wouldn’t be able to tell afterwards if it had been out of repugnance or fascination and lust. Both no doubt. . . As if she were watching someone drink water only to discover her own thirst, profound and ancient.

As difficult of a heroine as Joana is, and as difficult as Lispector’s prose may be – sometimes verging on abstraction – there’s something deeply relatable about both: a deep yearning to understand and to be understood permeates the text of this book. Beneath the surface of her words, Joana is deeply self-conscious, frustrated with her ability to say what she actually means. Wearily, she repeats:

‘Yes, I know. . . The distance that separates emotions from words. I’ve already thought about that. And the most curious thing is that the moment I try to speak not only do I fail to express what I feel but what I feel slowly becomes what I say. Or at least what makes me act is not, most certainly, what I feel but what I say.’

This is the challenge, which Moser points to in his introduction, that forms the crux of the book: to capture “the symbol of the thing in the thing itself;” to successfully unite words with meaning and emotions. This linguistic struggle parallels Joana’s own psychological struggle to make herself understood in relation to others, while simultaneously preserving her individuality. Should she exist alone, full-fledged – like a solitary word – symbolizing only that which she contains in her own form? Or should she attach herself to other layers of meaning – people, beliefs, or God – which will necessarily plaster themselves over her own essential meaning?

Joana’s conundrum, though complex, is common. Haven’t we all been bound in the archetypal struggle of communication at some point? “Try to understand my heroine, Aunty, listen,” Joana says. “She is vague and audacious. She doesn’t love, she isn’t loved. . . However what Joana has inside her is something stronger than the love that people give and what she has inside her demands more than the love people receive. Do you understand, Aunty? I wouldn’t call her a hero, as I promised Daddy myself.” Yet Joana is a heroine of sorts: as much as she might defy our expectations, she’s brave enough to tell the truth. By maintaining her selfhood to the last, Joana gives us something deeply real. Though the truth may not be convenient or comfortable, those who have the courage to tell it are the real heroes.

16 April 12 | Chad W. Post | Comments

All four galleys arrived today, and every single book I was planning on reading has been pushed aside for the moment . . .

(ONE COMPLAINT: There is really no reason whatsoever to include a quote from J-Franz on the front of Near to the Wild Heart. I saw that and threw up a little bit in my mouth, especially considering that—at least based on all of his fiction and that totally mental Harper’s essay from a while back—my taste in literature and Franzen’s tend to overlap not at all.)

The Odyssey
The Odyssey by Homer
Reviewed by Peter Constantine

Now goddess, child of Zeus,
tell the old story for our modern times.

–(The Odyssey, Book I, line 10. Emily Wilson)

In literary translation of works from other eras, there are always two basic tasks that a translator needs. . .

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I Remember Nightfall
I Remember Nightfall by Marosa di Giorgio
Reviewed by Talia Franks

I Remember Nightfall by Marosa di Giorgio (trans. From the Spanish by Jeannine Marie Pitas) is a bilingual poetry volume in four parts, consisting of the poems “The History of Violets,” “Magnolia,” “The War of the Orchards,” and “The Native. . .

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Joyce y las gallinas
Joyce y las gallinas by Anna Ballbona
Reviewed by Brendan Riley

This review was originally published as a report on the book at New Spanish Books, and has been reprinted here with permission of the reviewer. The book was originally published in the Catalan by Anagrama as Joyce i les. . .

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Lost in Translation: An Illustrated Compendium of Untranslatable Words from Around the World
Lost in Translation: An Illustrated Compendium of Untranslatable Words from Around the World by Ella Frances Sanders
Reviewed by Kaija Straumanis

Hello and greetings in the 2017 holiday season!

For those of you still looking for something to gift a friend or family member this winter season, or if you’re on the lookout for something to gift in the. . .

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The Size of the World
The Size of the World by Branko Anđić
Reviewed by Jaimie Lau

Three generations of men—a storyteller, his father and his son—encompass this book’s world. . . . it is a world of historical confusion, illusion, and hope of three generations of Belgraders.

The first and last sentences of the first. . .

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Island of Point Nemo
Island of Point Nemo by Jean-Marie Blas de Roblès
Reviewed by Katherine Rucker

The Island of Point Nemo is a novel tour by plane, train, automobile, blimp, horse, and submarine through a world that I can only hope is what Jean-Marie Blas de Roblès’s psyche looks like, giant squids and all.

What. . .

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The Truce
The Truce by Mario Benedetti
Reviewed by Adrianne Aron

Mario Benedetti (1920-2009), Uruguay’s most beloved writer, was a man who loved to bend the rules. He gave his haikus as many syllables as fit his mood, and wrote a play divided into sections instead of acts. In his country,. . .

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