When I first read Almost Never by Daniel Sada, I thought it was a lock to be a finalist for the 2013 BTBA. It’s a strange book that’s basically 328 pages of foreplay ending with three pages of this:
Ecstasy-sex. Sinking-in-sex. Sex that shapes. Sex that sparkles.
Yes, once again I’ve decided to highlight a sex book that I thought would make the BTBA longlist.
I don’t have a lot of time to write all the things I’d like to say about this book, but I do want to point out my favorite part of the opening chapter:
Now comes a description of Demetrio’s job: his workday went from seven in the morning till five in the afternoon, sometimes six, more infrequently seven.
That’s it. Nothing about what he actually does (at this point), just the time he spends there. Which is so wonderfully telling for this particular character.
Quickly: Sada is considered by many to be one of the greatest contemporary writers to come out of Mexico, was praised by Bolaño, and his novel Porque Parece Mentira la Verdad Nunca se Sabe is considered to be untranslatable. (According to Rachel Nolan of the New York Times it really does sound pretty daunting, what with its “650 pages, 90 characters and use of archaic metric forms like alexandrines, hendecasyllables and octosyllables.”)
Katherine Silver actually received an NEA Translation Fellowship to work on more Sada, so hopefully there will be additional books of his to consider for future BTBA awards . . .
Sales rep superstar and international literature enthusiast George Carroll just posted a “destination guide” at NW Book Lovers that highlights a number of great presses, organizations, and books worth checking out.
Many of these—like Three Percent, New Directions, the Center for the Art of Translation—you’re probably already familiar with, but it’s always fun to see someone else talking about your books and/or the reasons for reading international literature in the first place.
There’s an opinion in publishing that literature in translation doesn’t sell— that the books are dense and unapproachable, and that Americans won’t read authors whose names we can’t pronounce. Norman Manea (The Lair, Yale Margellos) says books in translation are thought to be “too ‘complicated,’ which is another way of saying that literature should deal with simple issues in a simple way.”
Haruki Murakami once said, “If you only read the books that everyone else is reading, you can only think what everyone else is thinking.” If that’s true, people who read international literature are true iconoclasts. Only about three percent of all books published in the United States are works in translation. In terms of literary fiction and poetry, that number drops below one percent. And mainstream reviewers ignore most of the books that make it through the translation process into print.
I also want to point out that his three recommendations—Satantango by Laszlo Krashnahorkai, Maidenhair by Mikhail Shishkin, and Almost Never by Daniel Sada—are three of my favorite books from 2012 . . .
Scott Esposito’s been on about Daniel Sada for a while now, and I’ve heard nothing but fantastic things about his work, especially the “Joycean,” “Rabelaisian,” novel Almost Never, which wont he prestigious Herralde Prize for Fiction, and which Graywolf is bringing in April in Katherine Silver’s translation. Yes, April. 2012.
Well, to my grand surprise, a galley arrived here this morning:
Here’s a description:
This Rabelaisian tale of lust and longing in the drier precincts of postwar Mexico introduces one of Latin America’s most admired writers to the English-speaking world.
Demetrio Sordo is an agronomist who passes his days in a dull but remunerative job at a ranch near Oaxaca. It is 1945, World War II has just ended, but those bloody events have had no impact on a country that is only on the cusp of industrializing. One day, more bored than usual, Demetrio visits a bordello in search of a libidinous solution to his malaise. There he begins an all-consuming and, all things considered, perfectly satisfying relationship with a prostitute named Mireya.
A letter from his mother interrupts Demetrio’s debauched idyll: she asks him to return home to northern Mexico to accompany her to a wedding in a small town on the edge of the desert. Much to his mother’s delight, he meets the beautiful and virginal Renata and quickly falls in love—a most proper kind of love.
Back in Oaxaca, Demetrio is torn, the poor cad. Naturally he tries to maintain both relationships, continuing to frolic with Mireya and beginning a chaste correspondence with Renata. But Mireya has problems of her own—boredom is not among them—and concocts a story that she hopes will help her escape from the bordello and compel Demetrio to marry her. Almost Never is a brilliant send-up of Latin American machismo that also evokes a Mexico on the verge of dramatic change.
But what’s really exciting about this—and the reason why I’m going to read this as soon as I’ve fulfilled all my other reading obligations—is the prose itself. Check the opening:
Sex, as an apt pretext for breaking the monotony; motor-sex; anxiety-sex; the habit of sex, as any glut that can well become a burden; colossal, headlong, frenzied, ambiguous sex, as a game that baffles then enlightens then baffles again; pretense-sex, see-through-sex. Pleasure, in the end, as praise that goes against the grain of life lived. Conjectures cut short during a walk on a pale afternoon. Block after block, ascending, then descending. A strain in the step as well as the mind. The subject was one Demetrio Sordo, tall and thin, almost thirty, fond of the countryside wehre he plied his trade with a modicum of pleasure, but for recreation: what thrills? Nightly games of dominoes in seedy dives, and those strolls—few and quite dull—of a mere mile or two; or a cup of coffee in the evening, always solitary and perfectly pointless; or the penning of letters to known but already ghostly beings. Hence a rut, and—what should he do?: think, already anticipating certainties and doubts: lots of naysaying, and more reshuffling, all of which helped him find the spark he’d been lacking without taxing his brain on that overcast afternoon. Sex was the most obvious option, but the trick would be to do it every twenty-four hours. If only! A worthy disbursement, indeed. So that very night the agronomist went looking for a brothel.
You can pre-order your copy now . . . Also worth noting that this is part of Graywolf’s Lannan Translation Series, a collection of books in translation sponsored by the Lannan Foundation. This series includes Per Petterson, Venus Khoury-Ghata, Bernardo Atxaga, and many others.
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. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .