Over at The New Republic Ruth Franklin (who is working on a biography of Shirley Jackson, which should be amazing) has a piece detailing the five books that came out in 2011 that she wishes she had reviewed.
It’s a great list that includes Teju Cole’s Open City (“Reminiscent of the works of W.G. Sebald, this dreamy, incantatory debut was the most beautiful novel I read this year—the kind of book that remains on your nightstand long after you finish so that you can continue dipping in occasionally as a nighttime consolation.”), Tessa Hadley’s The London Train, Caitlin Horrocks’s This Is Not Your City, Binyavanga Wainaina’s One Day I Will Write About This Place, and Dubravka Ugresic’s Karaoke Culture:
Ugresic, a Croatian novelist and essayist who now lives in Amsterdam, is one of the most stringent and wide-ranging commentators at work today, bringing an ironic sensibility honed under communism to global pop culture. In the pieces collected here, many originally published in European newspapers, she sounds like the fantasy cultural-studies professor you never had, making crazy connections between unlikely ideas that turn out to be brilliant. In the long essay that opens the collection, she riffs on the concept of karaoke as a catch-all metaphor for the new forms of creativity, technologically enabled and often anonymous, that characterize the artists of the digital age—from users of the program Second Life to a performer on “Bulgarian Idol” who became an Internet sensation for her bastardization of the English language, rendering the chorus of her song as “Ken Lee / tulibu dibu douchoo” (“Can’t live / if living is without you”). Ugresic’s anecdotes and aperçus are as irresistibly quotable—“The Internet is the final, most explosive powder keg strewn on the eternal flame of our fantasies”—as they are haunting.
As I’ve mentioned a million times (or so), and will again (see the next post), Karaoke Culture is one of my favorite books of the year. And thinking about it now, like right now, like days before the holidays start in full, I think this may well be the perfect book for this month. It can help get you through any and all less-than-ideal family experiences. You will laugh. And rage. Seriously, buy it now, read the first essay, and you’ll be hooked. (If you want a preview, click here.
Over at the Literary Saloon they point out that this issue—the “Fall Books Preview”—is surprisingly lacking in fiction coverage.
But we couldn’t help but notice that the fiction coverage is . . . limited. Three titles — one of which is a New York Review Books title (Sorokin’s Ice), and another of which is . . . the latest Harry Potter. Meanwhile, four films are discussed (including a Harry Potter . . .).
The lack of fiction coverage doesn’t stop there though. Actually, looks like The New Republic is featuring even less than that:
- In the current issue: four reviews, with the review of two Loeb Classics volume of Hesiod about as close to fiction as it gets
- The 27 August issue, which admirably reviews the recent complete Zbigniew Herbert collection, as well as . . . Tina Brown’s The Diana Chronicles, but no fiction
- The 6 August issue: four reviews, no fiction
- The 23 July issue: four reviews, no fiction
Just what book culture needs—another review of The Diana Chronicles.
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
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. . .