As if Natsuo Kirino’s books don’t sound interesting enough by themselves, this interview in the LA Weekly has convinced me to check them out. Her books—two of which are available in English, Out and Grotesque, which was a Reading the World book this year—are beyond categorization, seeming to inhabit a space between crime fiction and literature, with a strong feminist underpinning that is twisted and disturbing.
As if that wasn’t confusing enough, here’s Margy Rochlin’s take:
Margy Rochlin describes her work as:
Author Natsuo Kirino is often referred to as “the queen of Japanese crime fiction.” But is that really the best way to classify her work? Her queasily disturbing, gender-political tales have also been called “Japanese feminist noir,” while in Japan, her brainy writing-style mashup is known as “Kirino Jynru,” or a book that borrows freely from several genres but feels beholden to none of their rules.
Michael Orthofer pointed this out as well, but Kirino’s response to the question about super-agent Binky Urban and which books are next in line to be translated provides an interesting glimpse into the politics of fiction in translation:
I went to New York and I hoped that Soft Cheeks would be translated because I thought it was a really good book. But Binky did her own research and found out through a Japanese connection that Grotesque might be a good option. After hearing a little bit about it, she decided that that would be the next one.
Since Binky doesn’t read Japanese, it’s odd that she has so much say in what comes out when. Although that kind of attention to the American market is what created the image we have of Murakami Haruki . . .
The next book does sound cool though, especially since it sounds like Americans won’t like it:
[What Remains] is a pretty dark story of kidnapping, and appears to be well received [in Japan], but I have my doubts about how it’s going to be received over here because of the sexuality. The narrative is structured in kind of a sandwich form, where you’ve got the author in the present, who’s reflecting on this time in the past when she was kidnapped for one year and held captive by a guy who said he wanted to be her friend. It’s a dark remembrance with these sexual scenes in it, so I feel a little skeptical about how it’s going to be taken here.
Gustavo Faverón Patriau’s The Antiquarian, translated by Joseph Mulligan, is a genre-blending novel, a complete immersion that delves into a lesser-used niche of genre: horror, gothic, the weird. There are visual horrors, psychological ones, and dark corners with threats lurking.. . .
What a wonderful, idiosyncratic book Weinberger has written. I say book, but the closest comparison I could make to other works being published right now are from Sylph Edition’s “Cahiers Series“—short pamphlet-like meditations by notable writers such as Ann Carson,. . .
Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released. . .
When Sankya was published in Russia in 2006, it became a sensation. It won the Yasnaya Polyana Award (bestowed by direct descendants of Leo Tolstoy) and was shortlisted for the Russian Booker and the National Bestseller Award. Every member of. . .
Stalin is Dead by Rachel Shihor has been repeatedly described as kafkaesque, which strikes a chord in many individuals, causing them to run to the bookstore in the middle of the night to be consumed by surreal situations that no. . .
Paradises by cult Argentinian author Iosi Havilio is the continuation of his earlier novel, Open Door, and tells the story of our narrator, a young, unnamed Argentinian woman.
The very first sentence in Paradises echoes the opening of Camus’s The Outsider. . .
This pearl from New Directions contains one short story from Russian literary master Fyodor Dostoevsky (translated by Constance Garnett) and one short story from Uruguayan forefather of magical realism Felisberto Hernández (translated by Esther Allen). Both pieces are entitled “The. . .