26 May 15 | Chad W. Post | Comments

So, this year, for the first time ever, BookExpo America is sponsoring two panels highlighting forthcoming works of fiction: one featuring general fiction, the other focusing on crime and thrillers. (Naturally, I’m moderating the first one and Tom Roberge is doing the other.)

The one on general adult fiction will take place first on Thursday, May 28th, at 10:30am on the Eastside Stage. The Crime one will be on Friday, May 29th, at 10:30am on the Eastside Stage.

Any of you who happen to be attending BEA should definitely come check this out. As a pilot program, it’s very important that we have a decent number of people show up for the events, so that we can hopefully grow this more and more in the future.

To whet your interest, here’s a bit of a preview of the General Fiction panel (I’ll do crime separately), complete with booth numbers so that you can go snag galleys of the books that look most interesting to you:

BEA Selects Adult Fiction in Translation
Thursday, May 27th, 10:30am
Eastside Stage

Coach House Books (Booth 648) will present Guano by Louis Carmain, translated from the French by Rhonda Mullins.

Since this won’t be available for a while, I can’t find any information about this on Coach House’s site, but I was able to scrape this off of Google Translate:

This is a story of war and love. Now, as these two are often born of entertainment no – tense border, made smiles – to surprise us in the end to be all – dead, tears, surprises – there was virtually no grand departure thing.

Which . . . is intriguing . . . (Seriously though, Coach House does great work and I’m really glad they’ll be featured on this panel.)

Coffee House Press (Booth 642) will present Valeria Luiselli’s The Story of My Teeth, translated from the Spanish by Christina MacSweeney:

Highway is a late-in-life world traveller, yarn spinner, collector, and legendary auctioneer. His most precious possessions are the teeth of the ‘notorious infamous’ like Plato, Petrarch, and Virginia Woolf. Written in collaboration with the workers at a Jumex juice factory, Teeth is an elegant, witty, exhilarating romp through the industrial suburbs of Mexico City and Luiselli’s own literary influences.

(I actually just finished reading this and it’s wonderful.)

Graywolf Press (Booth 3064) will present A Woman Loved by Andreï Makine, translated from the French by Geoffrey Strachan:

Catherine the Great’s life seems to have been made for the cinema—her rise to power, her reportedly countless love affairs and wild sexual escapades, the episodes of betrayal, revenge, and even murder—there’s no shortage of historical drama. But Oleg Erdmann, a young Russian filmmaker, seeks to discover and portray Catherine’s essential, emotional truth, her real life, beyond the rumors and facades. His first screenplay just barely makes it past the Soviet film board, and is assigned to a talented director, but the resulting film fails to avoid the usual clichés. After the dissolution of the Soviet Union, as he struggles to find a place for himself in the new order, Oleg agrees to work with an old friend on a TV series that becomes a quick success—as well as increasingly lurid, a far cry from his original vision. He continues to seek the real Catherine elsewhere . . .

Makine is extremely well-known throughout the world (you may be familiar with Dreams of My Russian Summers, which enjoyed a great deal of success) and it’s great that he’s found a home at Graywolf for his new books.

Come out on Thursday morning to see Erin Kottke, Alana Wilcox, and Caroline Casey talk about all of these!

20 July 11 | Chad W. Post | Comments

The latest addition to our Reviews Section is a piece by Taylor McCabe on The Last Brother by Nathacha Appanah, which is translated from the French by Geoffrey Strachan and available from Graywolf Press.

Taylor McCabe (aka “Intern #1”) is a student here at the University of Rochester where she’s majoring in French and English and is on the Fencing Club. She’s also hard at work editing the “Best of Three Percent” book that we’re putting together . . . (More info about that in a few weeks.)

Nathacha Appanah is a French-Mauritian of Indian origin, and this is the first book of hers to make its way into English. Appanah was a guest at this year’s PEN World Voices Festival and participated in the “Great Books: An Inheritance of Literary Wealth” event, which you can listen to here. Books: An Inheritance of Literary Wealth

Taylor wasn’t 100% sold on this book, which nevertheless sounds like it will appeal to a lot of readers. (And for a slight contrast, this review from the NY Times is a bit more positive.)

Indian-born Nathacha Appanah’s The Last Brother is clearly meant to be touching. The story, told in flashback, revolves around Raj, a nine year old boy who lives with his mother and abusive father on a remote island in the Indian Ocean, and David, an orphaned Jewish refugee who has been indefinitely detained on the island of Mauritius while on a pilgrimage between Nazi occupied Europe and Palestine. After a brief meeting on opposite sides of a fence at the jail where David is contained and Raj’s father is guard, the two boys become friends (despite a language barrier that seems to become inconsequential later in the book) while Raj is in the camp’s hospital after a vicious beating from his father.

Shortly after Raj is sent home, an enormous storm causes a breach of security at the jail, and the boys orchestrate an escape. Raj brings David to his home, where he and his mother conspire to hide the young escapee from Raj’s father and the prison officials sent to track him down. Raj begins to see David as a replacement brother—thus the title—for the two brothers he lost in a mudslide approximately a year before meeting David.

I think of The Last Brother in a touching movie-trailer montage: cut from the scene of the old man in the graveyard to two young boys on the opposite sides of a jail yard fence, then flash to the bewildered boys wandering around amidst overgrown trees. Think The Boy in the Striped Pajamas meets Slumdog Millionaire.

Click here to read the complete review.

20 July 11 | Chad W. Post | Comments

Indian-born Nathacha Appanah’s The Last Brother is clearly meant to be touching. The story, told in flashback, revolves around Raj, a nine year old boy who lives with his mother and abusive father on a remote island in the Indian Ocean, and David, an orphaned Jewish refugee who has been indefinitely detained on the island of Mauritius while on a pilgrimage between Nazi occupied Europe and Palestine. After a brief meeting on opposite sides of a fence at the jail where David is contained and Raj’s father is guard, the two boys become friends (despite a language barrier that seems to become inconsequential later in the book) while Raj is in the camp’s hospital after a vicious beating from his father.

Shortly after Raj is sent home, an enormous storm causes a breach of security at the jail, and the boys orchestrate an escape. Raj brings David to his home, where he and his mother conspire to hide the young escapee from Raj’s father and the prison officials sent to track him down. Raj begins to see David as a replacement brother—thus the title—for the two brothers he lost in a mudslide approximately a year before meeting David.

I think of The Last Brother in a touching movie-trailer montage: cut from the scene of the old man in the graveyard to two young boys on the opposite sides of a jail yard fence, then flash to the bewildered boys wandering around amidst overgrown trees. Think The Boy in the Striped Pajamas meets Slumdog Millionaire.

This is not to say that the book, translated from the French (Appanah has lived in France since 1988), is necessarily bad—it reads like a summer blockbuster waiting to happen, the movie everyone goes to see (whether to beat the heat with theatre air conditioning or because it actually looks good, it’s impossible to tell), and that leaves a lot of moms sobbing at the end and clutching their squirming twelve year old sons.

In fact, the main issue, I felt, with this novel was that most of it was simply so unmemorable—or, to be more exact, that it felt like a reproduction of any other book I had ever read before, either about an impoverished childhood in India or about the plight of the Jewish refugee during the Nazi occupation. The end of the book, however, takes a turn for the better, when the tragic downfall of the boys comes purely through their own stupidity: David’s malaria, which was being treated while he was at camp, cannot be dealt with when he is roaming the island with Raj as the boys attempt to make it back to the village where the bodies of his two brothers were lost.

On the ground, I clung to him and I wept and pleaded, as I have never had the chance to do with those others whom I have lost. There is no need to dwell on what I said. Irrespective of country, language, age, social status, what we say at such times is no more than a variation on the same phrases, the same words. Don’t leave me. I ached everywhere, there was a taste of blood in my mouth, but I went on pleading, I was begging him to wake up. After a moment I laid his head on my shoulder and stroked his hair with the flat of my hand. I knew this action made one feel better. My heart was bursting with grief, it is as simple as that and amid the sultry heat of the trees and ferns I wept, I wept like the child I was.

While this style of Appanah’s was definitely interesting, her attention to the old man telling this story in flashback often felt like the disembodied narrator, popular in film, was lending his voice to describe the actions I could already clearly see unfolding. So if you want to read The Last Brother, more power to you—after all, it’s charming enough, and an incredibly quick read—but don’t expect to become too attached, because a month from now you won’t even remember you read it in the first place.

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