It’s no surprise that more and more Chinese literature is making its way into English (there were 11 original works of fiction and poetry that came out in the U.S. in 2008, and through the first half of 2009, I’ve already identified 9), but this spring has a number of titles that look really fantastic, and that we hope to review in full in the not too distant future.
I started reading Five Spice Street by Can Xue on my trip to New York, and am amazed at how bizarre it is. On the surface things seem somewhat normal . . . well, maybe. Any book with a half-dozen containing a half-dozen page argument (one that involves 28 people) about a character’s age is pretty cool. Can Xue’s been published by Northwestern and New Directions in the past, and as one of the first books in Yale’s Margellos World Republic of Letters series it should get some pretty decent attention.
While in NY, I also picked up a copy of Yu Hua’s Brothers an enormous novel that was shortlisted for the 2008 Man Asian Prize. Yu Hua was profiled in the Times Magazine, and I’m sure this is just the start of the review coverage. (The crap line “The novel, which will be published in an English translation later this month, may also prove to be China’s first successful export of literary fiction” will inevitably catch the eye of a lot of reviewers . . . That, and the size of this book—it’ll break your wrist!—and the fact that Random House is bringing it out.) Here’s the rest of the Times Magazine description:
Certainly, foreign readers will find in its sprawling, rambunctious narrative some of China’s most frenetic transformations and garish contradictions. “Brothers” strikes its characteristic tone with the very first scene, as Li Guang, a business tycoon, sits on his gold-plated toilet, dreaming of space travel even as he mourns the loss of all earthly relations. Li made his money from various entrepreneurial ventures, including hosting a beauty pageant for virgins and selling scrap metal and knockoff designer suits. A quick flashback to his small-town childhood shows him ogling the bottoms of women defecating in a public toilet. Similarly grotesque images proliferate over the next 600 pages as Yu describes, first, the extended trauma of the Cultural Revolution, during which Li and his stepbrother Song Gang witness Red Guards torturing Song Gang’s father to death, and then the moral wasteland of capitalist China, in which Song Gang is forced to surgically enlarge one of his breasts in order to sell breast-enlargement gels.
Following up on the post last week about Columbia University Press, this May they’re bringing out the fantastically titled There’s Nothing I Can Do When I Think of You Late at Night by Naiqian Cao. I’ll read any Asian titles Columbia brings out, but this sounds particularly interesting:
In this genre-defying book, the author’s affection for vivid personalities and unflinching realism comes through in a stark portrait of adultery, bestiality, incest, and vice in rural China. Set near the border of Inner Mongolia, among a cluster of cave dwellings in Shanxi province, these intense vignettes describe the base desires and dark longings of a life lived in virtual isolation.
Finally, coming out from Penguin in April is English by Wang Gang, which, according to the Penguin site, is about a twelve-year-old boy learning English in the stifling atmosphere of Xinjiang in China’s remote northwest during the time of the Cultural Revolution. Editor John Siciliano highly recommended this to me, and I’m planning on reviewing it once we receive a galley . . .
(Paper Republic. is by far the best place online to get information about Chinese literature both translated and untranslated. Definitely worth checking out.)
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .