Sarah Gerard is a writer who used to work at McNally Jackson Books, but recently took a job at BOMB Magazine. Her work has appeared in the New York Times, New York Magazine, Bookforum, the Paris Review Daily, the Los Angeles Review of Books, Slice Magazine, and other publications. Her new book, “Things I Told My Mother,” can be purchased here. She holds an MFA from The New School and lives in Brooklyn.
A few of the BTBA judges have talked about how honored they are to be part of this process. I am also, but I want to be clear about one thing: it’s a lot of work.
The above is my tiny home office. It’s located in a small alcove in the hallway between my kitchen and my bathroom, in the studio apartment I share with my husband. The picture is in no way representative of the way my office looks every day. What I mean is this: recently, I left McNally Jackson Books, where I’d been a bookseller for three years, in order to join the team at BOMB Magazine, a publication that consistently pays homage to the art of translation. Because it would be difficult to inform every publisher of my address change, I still receive BTBA submissions at McNally Jackson, and have to return there every few days to pick up my mail. Each time, I find anywhere between two and ten new titles on the hold shelf for me, and add them to these stacks.
Meanwhile, new emails are coming in all the time from publishers; PDFs of books, eBooks, .mobi books. The judges are racing to keep up. And the list is always growing. Here are some of my recent favorites.
The African Shore by Rodrigo Rey Rosa (trans. Jeffrey Gray)
I mentioned BOMB Magazine. The current issue, #125, features a truly excellent conversation between Rodrigo Rey Rosa and Francisco Goldman. Rey Rosa was a protégé of Paul Bowles, who translated many of his books. It was under Bowles’s tutelage that Rey Rosa discovered his passion for writing, and it was Bowles who initially recognized Rey Rosa’s talent. Rey Rosa later returned to his home of Guatemala, where most of his books are set, and where he currently lives. But The African Shore is set in Tangier, a textured, mystical place full of almost noir-like intrigue. The possibility of violence hums on the outside of two stories held together by colonialism and the life of a snowy owl. Of the book, Francisco Goldman asks
FG: A propos of The African Shore, were there any special challenges for you in setting a novel in Tangier instead of Guatemala? Did you still consider yourself to be an outsider or a foreigner in relation to Tangier, or did you consider it home?
RRR: I wrote it in 1998. I dared to write the book when I realized that the Tangier that Bowles had written about—or better yet, created—had changed so much that it was no longer the same city. Only the wind remained… I lived there, and partially in New York, from ’82 to ’92, and spent summers in Tangier until 2001. When I started writing the novella, I could sense that I would never live in Morocco again. The book became a sort of farewell. But I never thought of Tangier as a home. I’ve never been at peace at home—but in Tangier I often was.
Regarding Jeffrey Gray’s translation, all I can say is that the book reads like a vivid dream seen through an opium haze, and sentence-by-sentence, is beautiful. I admit that I haven’t read Bowles’s translations, but am inspired now to seek them out and compare styles.
Sleet by Stig Dagerman (trans. Steven Hartman)
Two of Stig Dagerman’s books are up for the award this year: Sleet, a short story collection, and Burnt Child, a novel that I am now, after reading Sleet, very excited to begin. I admit, I had never heard of Stig Dagerman, but was intrigued by Sleet_’s introduction by Alice McDermott, blurbs from Graham Greene and Siri Hustvedt, and my general love of David R. Godine’s Verba Mundi series. As it turns out, Dagerman was a prolific writer in Sweden, who in his time was compared to everyone from Faulkner to Kafka to Camus. While most of the stories in _Sleet are a mote less philosophical than any of these writers’ works, I would be remiss if I didn’t strongly recommend the first and last stories, “To Kill a Child” and “Where Is My Icelandic Sweater?” (Laugh at the second title – it’s fine.) “To Kill a Child” had me hooked immediately and was promisingly quick and devastating, and “Where Is My Icelandic Sweater?”, a nearly novella-length work, had me reduced to a tear-soaked pile of loss and bereavement, and memories of my grandfather. Dagerman’s writing is personal and unsettling, hewing closely to characters being made to undergo humiliation and loss in an environment – mid-century Sweden – that’s almost too quaint for comfort. I would happily read this collection a second and even a third time.
Her Not All Her by Elfriede Jelinek (trans. Damion Searls)
This was one of the last books I staff picked as a bookseller at McNally Jackson:
The irony of a writer (Robert Walser) trying desperately to craft his own identity, only to succeed tragically at channeling through his words the voices of others. Jelinek captures Walser’s sad humor, his loneliness, and the eventual silence (silencing or death) of a voice that spoke through so many other voices. By way of madness? Genius? Damion Searls’s translation captures beautifully the skill of both writers: Jelinek’s performance and her ode to Walser.
I read this entire book in one mad, intensely satisfying, Homerically victorious sitting. I felt compelled despite its many (gorgeous, thrilling) challenges, to reach the end. Added to which, the book itself is lovely to look at – true objecthood achieved, Sylph Editions.
Here I should recall my last BTBA post, wherein I discussed Christa Wolf’s book City of Angels, which is also up for the award this year, and is also translated by Damion Searls. As it happens, Searls also – a trifecta of cool – translated Robert Walser’s A Schoolboy’s Diary, which is up for the award this year, too, and which author figures centrally into this Jelinek book we’re talking about currently – making a complete Searls circle, if you will.
Red Grass by Boris Vian (trans. Paul Knobloch)
I’m currently reading this book and am already completely blown away by it. While I’m not sure I can do it justice here, being that I’m still in the middle of it, I can already say that Vian’s (and Knobloch’s) sentences are some of the most lively I’ve ever read, and that the allegorical nature of the story rivals Kafka and Wells in its grace and complexity. It’s not exactly science fiction, but neither is it exactly Surreal. It’s something entirely its own – no other writer has done what Vian’s done here.
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .