One of my favorite parts of this job (aside from seeing our own books in print and on bookstore shelves) is opening the mail and seeing all the new books coming out. Especially when I receive things like the first two volumes of the new Borges series that Penguin Classics is bringing out next April.
These first two volumes—Poems of the Night and The Sonnets, pictured above and below—are coming out just in time for National Poetry Month, and by themselves are pretty amazing collections. Quoting from the jacket copy, Poems of the Night is “a moving collection of the great literary visionary’s poetic meditations on nighttime, darkness, and the crepuscular world of visions and dreams, themes that speak implicitly to the blindness that overtook him late in life.”
And The Sonnets contains, well, all of Borges’s sonnets, many of which are appearing in English for the first time.
Beyond the contents though, check this list of translators included in these volumes: Willis Barnstone, Robert Fitzgerald, Edith Grossman, Kenneth Krabbenhoft, Anthony Kerrigan, Stephen Kessler, John King, Suzanne Jill Levine (who is also the series editor, more below), Eric McHenry, Christopher Maurer, W. S. Merwin, Alastair Reid, Hoyt Rogers, Mark Strand, Charles Tomlinson, Alan S. Trueblood, and John Updike.
Now, about the series: I’d heard about this from John Siciliano and Jill Levine back some time ago, and thanks to the wonderful people at Penguin, I just got some additional info about all five volumes. These are based on the Collected Fiction, Selected Poetry, and Selected Nonfiction volumes that came out a few years ago, but each new volume includes new material as well. Kristen Scharold sent me this info about the next three volumes, which will come out in June of next year:
On Writing constitutes a guide to writing by one of the twentieth century’s most revered writers and literary thinkers. On Argentina constitutes a guide to Borges’s beloved Argentina and Buenos Aires—perfect for the literary traveler. On Mysticism, which is edited and introduced by Borges’s widow, Maria Kodama, is a collection of Borges’ essays, fiction, and poetry that explores the role of the mysterious and spiritual in Borges’ life and writing.
It’s always a good time to read Borges, and I have a feeling I’ll end up reading all five of these volumes over the next year . . . And speaking of Suzanne Jill Levine, here’s an interesting interview with her that recently appeared in Words Without Borders.
As pointed out at Moby Lives yesterday marked the 93rd year after the death of Sholem Aleichem. (No, I don’t think 93 has any real numerological significance, but anniversaries are a nice reason for writing about someone’s work/life. And this does happen to be the 150th year after Aleichem’s birth . . . )
Most well known for his Tevye stories, which served as the basis for the musical The Fiddler on the Roof, Aleichem was one of the great comic Jewish writers of modern times and led an interesting life (from Moby Lives):
Born Solomon Rabinowitz in 1859, the son of a merchant in the Ukrainian village of Pereyaslav, he wrote his first book at fourteen: a dictionary of Yiddish curses overheard at home. Despite jobs teaching Russian and writing for Hebrew newspapers, it was his writings in Yiddish—humorous stories about village life—that brought him fame. Using the Yiddish greeting (“Peace unto you”) as his pseudonym, he published 40 volumes of stories and plays, single-handedly creating a literature for what had been primarily a spoken language. Pogroms forced Aleichem to flee Russia in 1905, eventually landing him in New York City, his fame undiminished. When Aleichem was introduced to Mark Twain as “the Yiddish Mark Twain,” Twain interrupted to call himself the “American Sholom Aleichem.” Upon Aleichem’s death in 1916, 100,000 mourners flooded the streets of Manhattan for his funeral. His will, however, asked friends to remember him by an annual reading of one of his funny stories. “Let my name be recalled in laughter,” Aleichem wrote, “or not at all.”
Recently, Melville House reissued Stempenyu: A Jewish Romance, which was the first of Aleichem’s books to be translated into English, and supposedly it the story that inspired Fiddler on the Roof.
For those interested, Tevye the Dairyman and Motl the Cantor’s Son was recently reissued by Penguin Classics in a new translation by Aliza Shevrin.
And Viking also brought out the first complete translation (also by Aliza Shevrin) of Wandering Stars, a late novel of Aleichem’s about the world of Yiddish theater. Tony Kushner wrote an excellent foreword to this book that really makes me want to carve out the time to read it (or at least have someone review it in full for the site . . . if anyone’s interested, e-mail me at chad.post at rochester dot edu).
The reader of Wandering Stars can, if this is the kind of thing the reader likes to do, catalog its imperfections, of which there are enough to keep any literary scorekeeper busy and happy. Time lurches wildly in Aleichem’s novel, and the narrative along with it. The opinionated, distractible narrator, when he’s doing his job, rather than taking a rest while allowing letters written by the characters do the storytelling, seems less interested in his two protagonists than in the fantastical secondary cast that surrounds them. And who can blame him? The secondary characters are magnificent, men and women cooked up out of wit, terror, panic, hunger, chutzpah, pathos, and spleen (especially spleen), effortfully and arduously cooked — peeled, chopped, boiled, or fried — rather than dreamed up or imagined.
That this is a knotty, knobby, odd novel of fits and starts and sudden jolts is possibly due to its serialized newsprint origins and its lateness in Sholem Aleichem’s writing life; or possibly conventional wisdom and Reb Mendalle Mocher Sephorim are right about him, and Aleichem is found at his best in his short stories and occasional pieces. We might thus consign his novel to culture’s remainder table, unless we consider how appropriate its strangeness is to its subject. Though like many other, more perfect novels, Wandering Stars is about love, it’s about love between Jews who work in the theater. So it should be strange and imperfect. Theater is almost never perfect; its imperfections, its incompleteness and its tawdriness, are among the principal sources of its power. And do I need to tell you that life for Jews isn’t perfect? I don’t.
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
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”. . .