In a few weeks, we’ll be releasing A Thousand Forests in One Acorn, one of the most impressive—and beautiful—books that we’ve ever published. It’s a 715-page beast that was put together by Valerie Miles (one of the people behind Granta’s “Best of Young Spanish-language Novelists” special issue) featuring twenty-eight Spanish-language authors, from Aurora Venturini (born 1922) to Evelio Rosero (born 1958). Of these authors, about half have been translated into English (Javier Marias, Carlos Fuentes, Enrique Vila-Matas, etc.), and the other half are making their way into English for the first time ever—like Elvio Gandolfo.
But before getting into Gandolfo, there are a couple more things to say about this book, which isn’t your typical anthology. For this collection, each author selected the piece to be included on the basis that it’s the “aesthetic high point” of their writing career. Then, they answered a number of questions about this piece and their writing life, explaining their influences, what they were trying to do in the included excerpt, etc. All of this is prefaced by insightful short biographies (written by Valerie Miles) and capped off by a bibliography of the author’s works in Spanish and in English . . . In other words: This is a damn amazing, useful, impressive book.1
Ninth Letter, a “collaborative arts and literary project produced by the Graduate Creative Writing Program and School of Art & Design at the University of Illinois, Urbana-Champaign,” and one of the most beautiful lit mags out there, decided to run one of the pieces from A Thousand Forests in One Acorn, “The Moment of Impact” by Elvio Gandolfo, a story about a whale falling on a city.
You can read the entire story here, but to entice you, here’s a bit of what Gandolfo had to say about it:
I tried to make something impossible, at least in terms of the physical laws and limits we are bound by at this moment in science and history, plausible. In that sense, the story satisfies me fully. Besides, it seems to be written for nobody . . . At another time, I might have come up with a single short sentence (“a whale falls on a city”) and I wouldn’t have even written it down. When I did, however, I filled in all the details composing that precise moment and “the space of the impact.” The businesses, the streets, names of the residents of 1043 on Peatonal Córdoba (taken from the name plates on the building’s intercom) are (or were) real. When you use actual landmarks you discover the limits of what is really real for the people living in that place.
This is one of the outstanding voices that I discovered in working on this book, and I’m willing to bet that almost all Three Percent readers will love this piece. So go to Ninth Letter now and read it. And then preorder the book—it’s worth the $19.95 just for the production quality.
1 Over the month of September, we’ll be doing a special Three Percent promotion for this, running an excerpt from an interview or a piece of fiction every day. More on that in the near future.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .