Still wish I had the money/time to attend the ongoing Guadalajara Book Fair, but instead, the coverage at Hermano Cerdo will have to suffice. They’re posting day-by-day rundowns of events, observations, etc., complete with great pictures. Definitely worth checking out—especially if you read Spanish.
Included in this issue are articles on Juan Jose Millas’s El Mundo, on Sergio Chejfec’s Los incompletos y Mis dos mundos, and on Daniel Sada’s Casi nunca, which will be published by Graywolf.
I first found out from Scott Esposito of Conversational Reading that Hermano Cerdo — the fantastic Spanish-language blog about literature and martial arts — is running an incredible Books of 2008 series of posts.
They’ve asked a wide range of authors and editors (mostly Spanish, although not entirely) to name the best book(s) they read this year. (Like The Millions’ Year in Reading these don’t have to be new books.)
I’ve been slowly working my way through all these posts and recommendations, but the one that caught Scott’s eye was Enrique Vila-Matas’s recommendation of Mis dos mundos by Sergio Chejfec
Chejfec es un escritor argentino (Buenos Aires 1956), tal vez no muy conocido, pero autor de libros tan recomendables como Los incompletos (Alfaguara 2004). En Mis dos mundos desarrolla la crónica de un paseante, de un caminador, en la línea de Walser, Magris o Sebald. Incorpora un sorprendente humor dentro de la densidad germánica de una historia casi inmóvil en la que cuenta básicamente la reflexión sobre el desconcierto general de un viajero extraviado, inteligente y con buena disposición (a todas luces inútil) para acoplarse en un mundo que no parece hecho para él.
In my opinion, when Vila-Matas compares another writer to Sebald and Walser, it’s worth paying attention . . .
Issue #21 of Hermano Cerdo is now available, and looks to have some interesting pieces.
A new issue of this martial-arts-meets-literature site has arrived. This edition includes a short war story, “Una buena semana,” or, “A Good Week,” by Juan Bonilla, a writer from Bogotá.
I also enjoyed the essay, “Sidekick,” by Miguel Habedero. He writes,
“Hubo una época en la que Juan Villoro era mi sidekick. Batman tenía a Robin, Superman a Kripto, el perro maravilla, y yo tenía a Juan,” or, “There was a time when Juan Villoro was my sidekick. Batman had Robin, Superman had Kripto, the wonder-dog, and I had Juan.” The essay’s humorous and admiring tone persists, and ends with a note that Habedero will continue the story of Villoro in another column.
This issue is full of blog posts, interviews, and short stories – not to mention the martial arts installments – to keep readers of Spanish busy for awhile.
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .