Calling all Krashnahorkai fans (of which there are legion): The next issue of Music & Literature, which is available for preorder now, will feature a bunch of interesting works by and about your favorite Laszlo.
Music & Literature_’s second issue, now available for pre-order, features new literature on and by László Krasznahorkai, Béla Tarr, and Max Neumann. This special volume presents, for the first time in English, an extensive selection of newly translated fiction spanning Krasznahorkai’s 26-year career, alongside an array of new appreciations and essays on his work by top critics and artists from around the world; a portfolio of photographs by cinematographer Gábor Medvigy, taken on-set while filming Tarr’s masterpiece _Sátántangó; and 24 new paintings by renowned German artist Max Neumann, who previously collaborated with Krasznahorkai on the chapbook Animalinside (New Directions Books & Sylph Editions, 2010). An essential volume for the aficionado and the casual fan alike, Issue Two brings together an international community for a hearty nod to three of our finest living artists.
And for those of you unfamiliar with this well-curated, well-produced, well-edited journal, you should get yourself familiarized:
Music & Literature is a charitable organization dedicated to publishing excellent literature on and by under-appreciated artists from around the world. Founded to confront the growing need for serious long form criticism on the arts in the English-speaking world and provide a forum for critics and artists, Music & Literature is published twice per year, with each in-depth issue exploring the work of 3-4 featured artists. Each issue is roughly 200 pages in length and contains at least 15 new critical essays and first-time translations of articles; new interviews with the featured artists; when possible, previously unpublished manuscripts, scores, correspondence, and other archived materials obtained through collaboration with cultural institutions and artists’ estates; and, where appropriate, reproductions of seminal critical texts. Published in both digital and print editions, issues of Music & Literature are unique objects designed to meet the immediate needs of modern readers while enduring and becoming permanent resources for future generations of readers, scholars, and artists. Currently, no comparable magazine exists in English.
The debut issue of Music & Literature, now available, features new work on and by Hubert Selby, Jr., Micheline Aharonian Marcom, and Arvo Pärt, and is produced in collaboration with Pacifica Radio Archives and the International Arvo Pärt Centre.
Buy it! Buy it all!
Sales rep superstar and international literature enthusiast George Carroll just posted a “destination guide” at NW Book Lovers that highlights a number of great presses, organizations, and books worth checking out.
Many of these—like Three Percent, New Directions, the Center for the Art of Translation—you’re probably already familiar with, but it’s always fun to see someone else talking about your books and/or the reasons for reading international literature in the first place.
There’s an opinion in publishing that literature in translation doesn’t sell— that the books are dense and unapproachable, and that Americans won’t read authors whose names we can’t pronounce. Norman Manea (The Lair, Yale Margellos) says books in translation are thought to be “too ‘complicated,’ which is another way of saying that literature should deal with simple issues in a simple way.”
Haruki Murakami once said, “If you only read the books that everyone else is reading, you can only think what everyone else is thinking.” If that’s true, people who read international literature are true iconoclasts. Only about three percent of all books published in the United States are works in translation. In terms of literary fiction and poetry, that number drops below one percent. And mainstream reviewers ignore most of the books that make it through the translation process into print.
I also want to point out that his three recommendations—Satantango by Laszlo Krashnahorkai, Maidenhair by Mikhail Shishkin, and Almost Never by Daniel Sada—are three of my favorite books from 2012 . . .
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”. . .
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. . .