Over the next week or so, I’ll be unveiling all six of Open Letter’s spring 2009 titles. Our finished catalog will be back from the printer in the not-too-distant future, and on our website before that, but I thought it would be fun to give a bit of special attention to each of the titles.
First up is a reprint of Jakov Lind’s Landscape in Concrete, which will come out in March. (We’re also bringing out Ergo next fall, around the same time that the New York Review Books brings out Soul of Wood.)
Lind died last February, and it was the wave of fascinating obituaries that caught our editorial interest. Before picking up a single title, I was intrigued by his very strange biography. From the eulogy Anthony Rudolf gave at Lind’s funeral:
Where does the story begin? Jakov was born in 1927 in Vienna into an assimilated Jewish family. A few months after the Anschluss in 1938, his parents sent him on a children’s transport to Holland. There he joined one of many Zionist farms or training centres across Europe, in preparation for kibbutz life in the Yishuv, the pre-state Jewish community in Palestine. As we know from his fascinating and sophisticated autobiographies written in English, the tough-minded teenager, at odds with those Dutch Jews who did not resist deportation, went underground. He survived the war in Germany as a Dutch merchant seaman on a barge. He tells us that it was safer for a Jew to be in Germany “inside the lion’s mouth” rather than in Holland, where you would feel “its teeth and claws”. He even survived a physical examination when he checked into a hospital for venereal disease. “What, that too?” said the male nurse with a laugh, after inspecting the culprit.
The mutability of identity is a common theme throughout Lind’s life and work. In fact, Jakov Lind is actually a pseudonym—as Sasha Weiss details in her excellent essay, he was born Heinz Landwirth, changed his name to Jan Overbeek when he pretended to be Dutch seaman, and then became the author Jakov Lind.
In addition to his works of fiction—which are strange, brilliant books that can be a bit disturbing, but are also very funny in a sort of Beckettian way—he also wrote a “memoir trilogy” consisting of Counting My Steps, Numbers, and Crossing. And relating to his shifting identity and background, he wrote all of these in English.
Landscape in Concrete is set during World War II and features Sergeant Gauthier Bachmann, a totally unhinged German soldier who was discharged for insanity. The book opens with him wandering the forests searching for any company that will take him and let him participate in the war—as a German man it’s his duty to fight. Along the way he literally stumbles into Schnotz, a deserter and poisoner who is hiding in a hole in the woods waiting for the war to end. This excerpt features the beginning of their conversation.
The book gets darker and more odd as it develops, and as various people manipulate the hapless Bachmann. He’s very innocent at the beginning of the novel, but war can change people . . .
For more information about Lind and his works I’d also recommend checking out Joshua Cohen’s article Paying Tribute to a Living Legend, written shortly before Lind’s passing.
Joshua Cohen has a long review of both Kertesz books that have come out so far this year: Detective Story and The Pathseeker.
(Before going any further, I think it’s worth pointing out that Cohen rivals Three Percent fave Ben Lytal in the sheer number of literary translations he reviews.)
Cohen has mixed feelings about both books (but prefers The Pathseeker, calling it “the less surprising but ultimately more impressive fiction”), and about the quality of the translations.
But what I find most interesting is this:
I would like to say two words about the business and translation of books. One: Knopf — the American publishing house that has published more Nobel Prize-winner works than any other — has published Detective Story and is marketing it as a novel. And, Melville House — a small press based in Brooklyn — has published The Pathseeker as the debut of a series called “The Contemporary Art of the Novella.” It should be noted that in this instance, the novella is longer and more complex than the novel, which has been called what it’s not if only to help with its sales. Such are the hopes of multinational publishing. That Kertész has chosen to publish independently is laudable; Knopf was unwilling for reasons that were undoubtedly economic, or foolish.
There’s also a great quote from Kertesz about the first translations of his books (Fateless and Kaddish for a Child Not Born—is there a reason it’s not “for an Unborn Child”?) that were published by Northwestern some years back:
“I really tried to protest against the first translations, but I found complete rejection. The publisher was not willing to do new translations. It was a really bad feeling. It was as if you had a very sane character who has a rendezvous with the reader and the person who shows up is basically a real jerk, with a stammer, bad breath and a foul mouth.”
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?),. . .