Today marks the third anniversary of Jakov Lind’s death. It was the occasion of his death that first brought Lind to our attention—I’m pretty sure I first read about him on Ready, Steady, Book, where Mark posted a link to his obituary. I did a little investigating, and I discovered that his books had fallen out of print, but at the time I wasn’t in a position to do anything about it. However, when we started Open Letter there was no question that we would be bringing some of Lind’s work back into print. From the first pages of Landscape in Concrete you know that you’re reading something special, and Ergo is no different. My only disappointment was that New York Review Books beat us to Soul of Wood.
Joshua Cohen is one of the writers who memorialized Lind (accidentally memorialized, as it turned out), and he was kind enough to agree to write an introduction to our edition of Landscape. We thought it would be appropriate to remember Lind today by posting that introduction, to give everyone who reads this blog a chance to discover this incredible novelist and extraordinary man:
“Jakov Lind” was a pseudonym for a man without a name. According to the rolls of a host of long-since defunct regimes, “Lind” was once known as Jakov Chaklan, Palestinian Jew (this was back when you could be one of those), and before that he was Jan Gerrit Overbeek, Dutch bargehand, which was the Nazi-era identity of Heinz Landwirth, Viennese. The author of Landscape in Concrete—and also of the stories of Soul of Wood, the novel Ergo, two other novels, another collection of stories, an Israeli travelogue, three memoirs, numerous stage and radio plays, and occasional poetry—might have been all of these people, and he might have been none. This is not meant “deconstructively,” however, or in a spirit of relativism. What’s being asserted here, at the beginning, is trauma. Is not knowing what to call one’s self. Is not having a private name for one’s self.
Landwirth was born in 1927, the year of the first trans-Atlantic telephone call, the year that television was first publicly demonstrated. Lindbergh flew to Paris; Trotsky was ousted from the Communist Party. This was not long after the collapse of the monarchy—the Austro-Hungarian Empire’s dissolution, through the first of the wars, from a relatively unified official culture, German-speaking, German-writing, into a smattering of countries impoverished with insular nationalisms. The author’s closest affinities lay here, with the ideal Habsburgs in their tubercular, war-wounded death throes; his childhood ailment is the Proustian languor, the mourning of a past that’s always near, strangely distant, unlived and yet, lost: “If I’m sick I vomit broken china and golden frames,” he writes in the first volume of his autobiographical trilogy. “What, if not handmade in the nineteenth century, is my Middle European soul?”Read More...
Recently released by Princeton University Press, Kafka’s Office Writings may well be the last of the last of the Kafka texts to appear in English. Kafka’s writings as a professional lawyer with the Workmen’s Accident Insurance Institute, may not seem to hold a lot of promise, but the description of the contents sounds strangely intriguing (though I may just be seduced by the jacket copy):
These documents include articles on workmen’s compensation and workplace safety; appeals for the founding of a psychiatric hospital for shell-shocked veterans; and letters arguing relentlessly for a salary adequate to his merit. In adjudicating disputes, promoting legislative programs, and investigating workplace sites, Kafka’s writings teem with details about the bureaucracy and technology of his day, such as spa elevators in Marienbad, the challenge of the automobile, and the perils of excavating in quarries while drunk.
(And I always heard you excavate quarries better after having a few . . . )
To celebrate this release, Nextbook has been running a five-part series by Joshua Cohen about the office writings and its relation to Kafka’s other works:
Kafka’s office writings, as presented here, cannot be read on their own (they are incomprehensibly boring) but, instead, must be read as companions, to demystify the three novels and stories (which are anything but boring). Taken together, though, both workaday fact and masterwork fiction create a network of connections that exposes not just the concerns of a single writer, but also that of a singular culture—the culture of the Office, which has imposed itself on what used to be our lives.
[Update: Part 5 — Conclusion is now available.]
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.”
Joshua Cohen has one of the first (hopefully of many) reviews of Roberto Bolano’s Nazi Literature in the Americas in yesterday’s Jewish Daily Forward.
A surprise to probably no one, the book sounds awesome:
Nazi Literature in the Americas, first published in Spanish in 1996, is not a work of nonfiction, though it reads as an encyclopedic history, or a biographical dictionary of criminous thought. [. . .]
What Bolaño has given us is a mock reference text, an indispensible companion to the work of collaborationist poets and novelists in the Americas — writers who, whether actively or through aesthetic allegiance, kept company with the Nazi cause. Included and representative are entries on “The Mendiluce Clan”: Edelmira Thompson de Mendiluce, an austere “lady poet”; Juan Mendiluce Thompson, her son, an angry novelist who denounced Julio Cortázar and his mentor Borges, “whose stories, so he claimed, were ‘parodies of parodies’”; and Luz Mendiluce Thompson, the family’s obese poet-daughter, who cherishes throughout her life a photograph of her baby self being cradled by Hitler.
One of the best aspects of the review is the passing reference to a joke manifesto Bolano once wrote:
Bolaño seems to have summarized his own life in the prankish manifesto for the literary movement he founded, “Infrarealism”: “Experience at full tilt, self-consuming structures, stark raving contradictions . . .”
Later in this document (of which Bolaño was the sole author and signatory), he wrote: “Risk is always elsewhere. The true poet is always leaving himself behind.”
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”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .