This was a great week for Open Letter books, with three of our recent releases getting some nice coverage:
In English for the first time in Martha Tennent’s translation, Death in Spring is about a society that finds highly elaborate ways to elude the inevitable and to conquer time. Its means are slow and insidious, ritualistic and bizarre, always teetering on the line between the real and the magical. Its members, obsessed with imprisoning themselves, pour concrete into the mouths of the dead to keep their souls from escaping. Every spring, they paint the houses pink and it’s unclear whether anyone remembers why. Though the novel is propelled forward by a linear narrative, it is its characters’ evasion of this diachrony that is most captivating. The book is driven by linguistic and thematic repetition, like a prose sestina in which the end words could be symbols or simply icons, aesthetic trends or markers that unfold and elaborate the path of the narrative. We see wisteria and bees, horses and butterflies, souls and prisoners weave in and out of the text, each time reappearing with a new relevance, a new level of meaning.
Christopher Byrd’s review of Jerzy Pilch’s The Mighty Angel in the B&N Review is also pretty fantastic:
From the opening paragraph — in which the protagonist awakens to discover a couple of Mafiosi in his room who have taken it upon themselves to act as literary agents for a female poet — to the closing paragraphs that flick away the tragic arc that’s usually prefabricated for books in the end-of-the-bottle genre, Pilch teases out plenty of LOL moments from desultory situations. All told, The Mighty Angel furnishes enough Schadenfreude to stylishly blacken just about any comedic sensibility.
Becky Ferreira at L Magazine agrees:
Pilch’s prose is masterful, and the bulk of The Mighty Angel evokes the same numb, floating sensation as a bottle of oadkowa Gorzka. But it’s not until Jerzy haphazardly reveals facts of his grandfather’s life that the naked grotesquerie of alcoholism pierces through the book’s often casual and flippant wit. Though the final chapters posit a chance at redemption, it remains unclear whether Jerzy is breaking the cycle, or just trading in one vice for another. To Pilch’s credit, both of Jerzy’s possible paths seem unfortunate and equally likely.
What’s riveting about Rupert’s account is his self-assuredness. Yes, he often speaks of ‘Rupert’ in the third person, an abstraction he’s removed from — but then Rupert is, after all, the ultimate ‘I am camera’. It’s a fascinating split-personality on display here — and some . . . perversely fine writing. [. . .] Cleverly, artfully done, Rupert: A Confession is no pleasant read, but an oddly seductive one. Well worthwhile.
Not too terribly long ago, Barnes & Noble.com started Barnes & Noble Review a weekly web magazine featuring reviews of books, CDs, DVDs, etc. Pretty interesting strategy—rather than compete with Amazon on price, provide compelling editorial content. B&N has attracted a nice line of reviewers, including John Freeman (former NBCC president and new American editor of Granta) and Christopher Byrd.
And more relevant to this post, they’re also covering some great books, including a few Open Letter titles.
Last week, Bragi Olafsson’s The Pets was featured on the Best Fiction of the Year list and was plugged by Paul La Farge:
The best short novel I’ve read this year must be Bragi Ólafsson’s The Pets, which makes more room for strangeness in its 157 pages than most novels can find in two or three times that length. [. . .] Ólafsson, who used to play bass in Björk’s band The Sugarcubes, handles the absurdity of the situation with a droll matter-of-factness that’s reminiscent of Murakami, but as the story goes on the drollery gives way to a subtle menace. A catastrophe is about to happen, and the question is, will Emil be able to prevent it, or will he be trapped by his own cowardice? Small, dark, and hard to put down, The Pets may be a classic in the literature of small enclosed spaces—a distinguished genre, which includes “The Metamorphosis,” No Exit, and a fair amount of Beckett.
In the brand new issue, Nobody’s Home by Dubravka Ugresic is reviewed by the aforementioned Christopher Byrd:
Abreast with this endeavor, she also looks into how globalization has affected, what the stalwarts of the Frankfurt School termed, the culture industry. For instance, in the essay “Transition: Morphs & Sliders & Polymorphs,” she notes, “Only in times ruled by firm, frozen values—political, religious, moral aesthetic, has the writer enjoyed . . . a special status. . . .Today, in…market-oriented cultural zones—an intellectual is simply a ‘player’ . . . a performer, a circus performer, an entertainer, a vendor of ‘cultural’ souvenirs.” Following this idea to its logical endpoint, one wonders, does the author factors herself into her own indictment? She does. While tallying the ills of civilization, Ugrešić avoids coming across as remote or above the fray. Indeed, alongside engaging in forceful cultural readings, she discourses on things like gardening and the pleasure of having one’s nails done. In sum, her provocative bent is not cheapened by her unmitigated desire to please.
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
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. . .