The latest addition to our Reviews Section is a piece by Lily Ye on Moacyr Scliar’s Kafka’s Leopards forthcoming from Texas Tech University Press in Thomas Beebee’s translation from the Brazilian Portuguese.
As Lily recommends in her review, you should definitely read this piece by Thomas Beebee and then read this preview of the book. Scliar is one of the past century’s best writers, and it’s awesome that Texas Tech is making more of his work available to American readers.
Click here to read Lily’s piece on this short novel.
I was going to write a review of Kafka’s Leopards by the recently deceased Brazilian author Moacyr Scliar, and then I got around to reading the piece that translator Thomas Beebee wrote for us on Scliar, his writings, and Kafka’s Leopards and realized that there was not much enlightenment that I could offer on any of these topics that Thomas had not already covered. So I come to you today, humbly, from a place of little knowledge, and suggest that you read Thomas’s wonderful piece on all things surrounding Kafka’s Leopards and then go ahead and read the book itself.
Running at under 100 pages, Kafka’s Leopards tells the story of Mousy, the logistics of which you can basically read from start to finish on the back of the book, but which is told with much more love on the part of Scliar. In brief, Mousy is a Brazilian Jew who is summoned to carry out a plot on the part of Trotsky which involves going to Prague and receiving and decoding a text. Mousy manages to mess this up and instead ends up with a short text from Franz Kafka himself, concerning leopards.
Mousy is a sympathetic character who can fall in love with a woman from a smile, and who is fiercely dedicated to the ideals of the Communist movement, but in whose whole life there is but this one seminal anecdote which overwhelms with its intrigue and its hijinks. This is the story of that anecdote, and its brief return to the limelight later in Mousy’s life.
Quite frankly, there is no reason not to read this book. Scliar entertains and moves the readers as much as he may perhaps dwell on the idea of the transmission of messages, the interpretation of texts (read Beebee’s piece for more on this!). He is never heavy-handed, and in fact, handles the character of Mousy as gently as such a character must be handled. We can practically feel the sweat beading on Mousy’s forehead, the warm heat building with anxiety, as well as the pride that swells up within him when he has carried out part of his mission correctly, or so he believes. Scliar writes to a perfect length, not letting the story going any longer or shorter than is necessary; and in the interest of not exceeding the book in length, I will simply conclude that reading this book was a pleasure and I would highly recommend it as a quick end-of-summer read.
This week at Read This Next we’re featuring Kafka’s Leopards, a short book by celebrated and prolific Brazilian author Moacyr Scliar that’s translated from the Portuguese by Thomas Beebee and forthcoming from Texas Tech University Press.
This book is one of strange misunderstandings, attributions of vital meaning to coincidence, that create the central story of interest in the protagonist’s life. Mousy is a tailor who always insists on cutting left sleeves a little shorter so that it is easier to read a wristwatch, much to the chagrin of his customers. Entrusted with a secret mission, one originally issued by Trotsky himself, Mousy heads out to Prague and bumbles his way into the life of Franz Kafka.
Fittingly, this title originally caught the eye of translator Thomas Beebee as he was looking through a shelf Portuguese books and glimpsed Kafka’s name on one of the spines. This week we have an introduction to the novel from Beebee himself, and a full review on Friday.
In case you’re not familiar with Scliar already, here’s a link to his obituary, which includes reference to the whole “Max and the Cats” and “Life of Pi” controversy:
‘‘Max and the Cats,’‘ about a Jewish youth who flees Nazi Germany on a ship carrying wild animals to a Brazilian zoo and, after a shipwreck, ends up sharing a lifeboat with a jaguar, achieved fame twice over. Critically praised on its publication in 1981, it touched off a literary storm in 2002 when the Canadian writer Yann Martel won the Man Booker Prize for ‘‘Life of Pi,’‘ about an Indian youth trapped on a boat with a tiger.
Mr. Martel’s admission that he borrowed the idea led to an impassioned debate among writers and critics on the nature of literary invention and the ownership of words and images.
“In a certain way I feel flattered that another writer considered my idea to be so good, but on the other hand, he used that idea without consulting me or even informing me,’‘ Mr. Scliar told The New York Times. ‘‘An idea is intellectual property.”
I hesitate to even mention that, since it would be much better if Scliar were known in this country for his great works—The Centaur in the Garden, The War in Bom Fim—than this controversy. But it is kind of interesting, and it’s always fun to besmirch overrated novels . . .
Anyway, click here to read the beginning of Mousy’s trip to Prague and the misfortune that begins the whole jumbled series of events.
Now that the 8th book in the Americas Series from Texas Tech has arrived, it seems like an opportune time to bring some attention to Irene Vilar’s exciting project.
Irene used to run this series out of the University of Wisconsin Press back in the early 2000s, but after leaving and writing a memoir (Impossible Motherhood, available from Other Press), she relaunched The Americas at Texas Tech with the publication of David Toscana’s The Last Reader, transated by Asa Zatz.
(Quick “let’s make fun of people who don’t understand the Internets” moment: I wanted to see which books ended up in the Wisconsin version of this series—I believe the Jorge Amado books were in this, but I can’t remember the others—so I visited this UWP page. Click on the link for “a list of the books in this series.” I dare you.)
The Last Reader sounds fantastic (see this earlier post), as do all of the other titles. Here’s a quick rundown of the ones I’m most interested in:
The Origin of Species and Other Poems by Ernesto Cardenal, translated from the Spanish by John Lyons.
Cardenal is considered by many to be one of Latin America’s greatest contemporary poets, and his work has been getting a lot of love of late. Pluriverse came out from New Directions a couple years back (see our review here), and did a great job encapsulating Cardenal’s 56-year career. This new book will likely get a ton of attention (more on that as it happens), and because of the new publication, Cardenal will be going on an extensive U.S. tour. (Check our translation events calendar for more specifics.)
The War in Bom Fim by Moacyr Scliar, translation from the Portuguese by David William Foster
Scliar—who passed away in February—is one of Brazil’s most beloved writers. A few of his books came out in the classic Avon series of Latin American authors, and a few others popped up here and there from a variety of presses, but I feel like his work has been underappreciated here in the States, and instead, he’s most known for thinking of suing Yann Martel for ripping his ass off for Life of Pi.
The War in Bom Fim sounds like a lot of fun (and will be the first of the series that I’m going to read and review):
What if, as David William Foster poses in his introduction to Brazilian author Moacyr Scliar’s novel, the Germans did choose to invade the Americas in the second World War? What if the Luftwaffe did plan to bomb American cities? [. . .]
With playful irony, homage to the Jewish folktale, a touch of magical realism, and keen insight into the customs and characters of this Yiddish-speaking melting pot, Scliar spins a fable of an imaginary war waged by the youngsters of Bom Fim. Brothers Nathan and Joel and their gang defend their quarter against a pretend German military invasion, while their parents deal with the quarrels and worries of the adult world. But which is more real? In Scliar’s richly layered fantasy Carnival and Pesach, Nazi and Jew, the consumer and the consumed, the grotesque and the quotidian intermingle unexpectedly amid the kitchens and alleys of Bom Fim.
The Fist Child by Lucia Puenzo, translated from the Spanish by David William Foster
Puenzo is a writer and filmmaker (she received a lot of praise of XXY as mentioned in our Granta post) and the movie adaptation of The Fish Child appeared at the 2009 Berlin Film Festival. Here’s the trailer:
Symphony in White by Adriana Lisboa, translated from the Portuguese by Sarah Green
Hut of Fallen Persimmons by Adriana Lisboa, translated from the Portuguese by Sarah Green
Both Lisboa books sound really interesting, and we have a forthcoming review of Symphony in White, which won the Jose Saramago Prize in 2003. Symphony in White focuses on two sisters, a “swirl of dark secrets,” and the “unspoken atrocities of the military dictatorship holding sway in their country.”
Hut of Fallen Persimmons just arrived the other week, and tells the story of Haruki and Celina’s trip to Japan. “Their trip to Kyoto provides a context for each to meditate on the past, their feelings for each other, and the questions of cultural difference. Through a counterpoint of narration and text, the pair’s losses and struggles gradually unfold.”
All with striking covers, these eight books make a fantastic collection. And I’m really looking forward to all the books Irene ends up including in the series. With a brilliant advisory board I have a lot of faith in the future of this series.
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. . .