Our latest GoodReads Giveaway is for Amanda Michalopoulou’s Why I Killed My Best Friend, which may well win the prize for the best Open Letter title ever. And, along with Navidad & Matanza, it’s in the running for one of the best blurbs:
“Flawlessly translated, Amanda Michalopolou’s WIKMBF uses the backdrop of Greek politics, radical protests, and the art world to explore the dangers and joys that come with BFFs. Or, as the narrator puts it, ‘odiodsamato,’ which translates roughly as ‘frienemies.’”—Gary Shteyngart
This novel, which is coming out in May, is the second book of Michalopoulou’s to come out in the U.S., the first being I’d Like, which Dalkey brought out a few years back. (And both of which are translated by Karen Emmerich.) It’s a book about two women—Maria who relocates to Greece from Africa, and Anna who moved to Greece from Paris—and their lifelong “friendship” that is filled with both unquestioned support and bitter competition.
The structure of the novel, and the way it fills in the details of their present day relationship (which is reignited when Anna’s daughter ends up in Maria’s art class) with flashbacks to the tumultuous events of growing up in Greece in 70s works incredibly well, and provides and interesting look into the impact politics can have on friendships and life in general.
We’re giving away 20 copies, so if you’re a GoodReads user, be sure and sign up below.
Also, we’re in the final stages of planning a reading tour for Amanda that will take place in April. More information about that in the near future.
Over the next couple months, we’ll be featuring some of the recent University of Rochester translation students on our weekly podcast. They’re all extremely interesting (and entertaining) people, and all working on very cool projects that we’d like to feature.
One of those students is Andrew Barrett, who you might remember from such Three Percent posts as this one about Nonnus’ Dionysiaca, the “erotic” Greek epic poem that he’s working on. Or this review of The Leg of Lamb by Benjamin Peret. Or this announcement about how Andrew was selected as the only U.S. student to attend this year’s Banff Translation Program. (Andrew also plays in April in the Orange.)
Well, Words Without Borders just published a couple Greek poems by Christopher Kontonikolis that Andrew translated.
According to Words Without Borders, Christopher Kontonikolis was born in Athens in 1981. He studied classics and is now completing a master’s degree in Byzantine literature at the University of Athens. He has composed poems in Greek and in Ancient Greek language and meter. This is his first publication in an American journal.
The two poems Andrew translated are Timon vs. Newton:
Timon and Newton were arguing about fruit.
Netwon said: “I prefer the apple
since I discovered gravity while peacefully dozing
under the shade of an apple tree.”
Timon shot back with stinging words:
“Newton, you’re an idiot, a fool
and utterly conceited in your intelligence. [. . .]
of that misanthrope,
who was homeless and forever wandering,
since he had yet to chop down his fig tree. [. . .]
Be sure and check both of them out — along with the rest of the always excellent Words Without Borders — and for more info on the U of R’s translation programs, click here.
Below is a guest post from Monica Carter, a member of the BTBA fiction committee, bookseller at Skylight, and curator of Salonica. Thanks again for all your help covering the longlist titles!
Ersi Sotiropoulos, a virtuoso of postmodern Greek fiction, masters the short story in her collection, Landscape with Dog and Other Stories. Sotiropoulos, whose 2000 novel Zigzag through the Bitter-Orange Trees, won both the national Greek book award and the book critics award, continues to use her deft sense of psychological insight and poetic language to give us portraits of the intimate and the abstract.
From the very first story, there is a familiarity that draws the reader in, that reminds of something comforting. But Sotiropoulos layers on top of that security a sense of foreboding. There is an ambiguity to her scenes and to her characters so that we are left to question our own instincts. She infuses the narrative of each story with a controlled terror that makes characters relationship seem like they could snap at any moment. Yet, she never gives us that release or makes it that easy for the reader, that definitive. The beginnings, middles and ends are blurry and we are left to decide where the story began and ended. This is not to say that the stories in this collection are not definitive, they are. They present the moments in life that fall into the grey area, that at one point may look white and then years later, pitch black. This requires a very deliberate prose, a deep understanding of narrative tension and skilled working knowledge of human behavior. Even more impressive is that Karen Emmerich’s translation let’s all of Sortiropoulos’ style and depth showcase itself in a sparse fluidity. The best way to understand what Sortiropoulos has to offer is to read this excerpt from “Christmas with Leo,” which is an woman addressing her dog after she tells him a story, but somehow it feels as if she is addressing the reader:
He isn’t satisfied with the denouement. He wants something more, I know. A happy ending or some big drama. But there’s nothing I can do. That something doesn’t exist. And I don’t want to lie to him. For a while we eye one another, tense as a dog and cat. Then he lays his head on my shoulder and sighs deeply. We sit there side by side, motionless, watching the lights on the tree.
And that’s how we feel as we read engaging story after engaging story, we come to terms with what she gives us, with what life gives us. Big things happen, but it’s in the moments, hours, days, and years later that we parse it out emotionally. She lets us see those moments when we know something is about to happen and illuminates in them the fear of the inevitable. All of this is done with an agile poetic hand that turns away from the lyrical but hits head on the dense and minimal, as shown in the story “The Woman” where she describes a couple making love upstairs, “their headboard hitting the wall rhythmically, monotonously. Tock, tock. An epilectic’s morse.” Details like that rise out of the narrative with a subtle and thunderous boom and it’s difficult to escape the oppressive quality of these stories.
Finding a convenient way out of her stories is difficult and that makes her challenging and simultaneously satisfying. Sotiropoulos gives us no directives. She leads us down a path but we never end up where we think we are going. The reader is expecting doom and is on edge waiting for it, like in “An Almost Guinea Fowl,” where a couple, Maro and Telis, invite over another couple to enjoy the guinea fowl that they bought which turns out to not to be guinea fowl, but some cheaper substitute. As the evening progresses, Telis threatens to tell the guests while they are in the nursery, tending to their crying infant:
“Tell them,” he said listlessly. “Tell them, if it’ll make you feel better.”
Maro started to cry, little sobs that kept getting louder. Her tears fell on the baby, who woke up and wriggled around in the crib. She picked him up and pressed his forehead to her wet cheeks. He was warm and very soft, almost spineless, and every so often his little body would give an irritated jerk as if shot through by an electric current. Suddenly he let out a loud shriek and hit her face with his head.
“I’m going back,” Telis said.
She stood there in the half darkness, with her back against the door and the baby in her arms. They were both crying, pressed up against each other, and the sound of their breathing, fitful and erratic, pierced the milky light of the room.
Scenes like this pull us along in search of a resolution. The couple in trouble, the dysfunctional mother and son, the depressed writer become fertile emotional landscapes that Sotiropoulos mines for fissures that happen long before the final break happens. It’s her acuity of the small breaks in relationships that drive this collection and make it fraught with an anxiety that is enervating and invigorating. Landscape with Dog and Other Stories lets us see what a consummate writer she is who has the power to capture the tiny moments of discomfort and doesn’t dare to give us answers, but to let us find our own way.
Lots of interesting pieces in the new issue of Words Without Borders, which focuses on Greece this month.
I have to admit that I haven’t heard of many of these writers (although the pieces by Thanassis Valtinos, Margarita Karapanou, and Ioanna Karystiani look particularly interesting), I am familiar with both Karen Emmerich, who translated a number of these pieces for this issue. Karen’s a great translator (her translation of Amanda Michalopoulou’s I’d Like was on the 2009 Best Translated Book Fiction Longlist), and in addition to translating a few pieces for this issue, she also guest edited it and wrote an introductory essay — Modern Greek Literature, Inside (and) Out:
The handful of pieces included in this issue represent only a small sample of recent Greek prose dealing with emigration and immigration, and with the challenges they pose to national, cultural, and ethnic identity. The selection is also, by design, rather eclectic, in style and form, and in the particular ways in which these works engage the issues I have been outlining. I have brought together texts about Greeks living abroad and texts about foreigners living in Greece; the selection as a whole deals with migration on a number of socio-economic levels and in a variety of historical situations. Many of the pieces included already juxtapose the figures of the emigrant and the immigrant in an attempt to make sense of the experiences of the cultural “other” by way of analogy; by presenting these writings as a group, I hope to further enable that work of empathetic comparison.
And just to put this in context—according to our translation database, four Greek books came out in the U.S. last year (in addition to the Michalopoulou, Green Integer did a collection of poetry by Nikos Engonopoulos, Etruscan Press published Alexis Stamatis’s American Fugue, and Parmenides did Pythagorean Crimes by Tefcros Michaelides) and only two titles (poetry collections by C. P. Cavafy and Katerina Anghelaki-Rooke) are on the list for 2009 . . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .