31 October 14 | Chad W. Post | Comments

This should be titled “airplane reading,” since I’m taking off tomorrow morning for the Sharjah International Book Fair. (If you don’t know already, Sharjah is an emirate very near Dubai. It’s a lot less ostentatious than Dubai though—kind of—and has no booze. Which, yeah.)

Anyway, The Creator came in the other day, and immediately got the attention of everyone in the office. Wakefield Press is one of our favorites, mostly for the very strange, almost unclassifiable books that they do. This one is no exception:

Billed by its author—the pseudonymous Mynona (German for “anonymous” backward)—as “the most profound magical experiment since Nostradamus,” The Creator tells the tale of Gumprecht Weiss, an intellectual who has withdrawn from a life of libertinage to pursue his solitary philosophical ruminations. At first dreaming and then actually encountering an enticing young woman named Elvira, Weiss discovers that she has escaped the clutches of her uncle, the Baron, who has been using her as a guinea pig in his metaphysical experiments. But the Baron catches up with them and persuades Gumprecht and Elvira to come to his laboratory, to engage in an experiment to bridge the divide between waking consciousness and dream by entering a mirror engineered to bend and blend realities. Mynona’s philosophical fable was described by the legendary German publisher Kurt Wolff as “a station farther on the imaginative train of thought of Hoffmann, Villiers, Poe, etc.,” when it appeared in 1920, with illustrations by Alfred Kubin (included here).

The “most profound magical experiment since Nostradamus” is what sold it for me. This sounds so wild, and basically perfect for Halloween . . .

This is translated by Peter Wortsman (who has also translated Musil and Kleist for Archipelago Books), and contains the illustrations from Alfred Kubin.

22 June 10 | Chad W. Post | Comments

The latest addition to our Review Section is a piece by Monica Carter on the Selected Prose of Heinrich von Kleist, which was translated from the German by Peter Wortsman and published by Archipelago Books.

Monica Carter is a very steady reviewer for us, who also serves on the fiction panel for the Best Translated Book award, runs the fabulous site Salonica and works at Skylight Books in L.A.

Always strange to say things like this about mega-famous authors who influenced writers like Kafka and Mann, but it seems like Kleist is undergoing a sort of moment—at least as regards American publishers and readers. In addition to this wonderful collection, Melville House reissued the Martin Greenberg translation of Michael Kohlhaas a few years back as part of their stunning Art of the Novella series.

Here’s the opening of Monica’s extremely positive review:

For as little known as he is, for as long ago as he lived and for a short a time as he was alive, it’s amazing the amount of impacting work German short story writer, poet, dramatist, and essayist Heinrich von Kleist produced during his life time. Born in 1777 and dead of suicide in 1811, Kleist suffered the bane of many famous writers—ridiculed and dismissed during his lifetime but respected and revered once time passed and history decided he was a worthy entry in the annals of literature. Today his plays are considered classic stalwarts of the German theatrical canon and his prose is known to have heavily influenced Kafka and Mann. And once again, the English speaking contingent of world literature can thank Archipelago Books for bring his varied and masterful work to our attention.

The Selected Prose of Heinrich von Kleist is a collection of superbly crafted stories and essays that span cultures and centuries but deftly exposes the universality of human tragedy. Although at first glance the language may feel dated and melodramatic, it is deceptive to label him as a writer with an antiquated style that was only relevant to his era. His style is distinct and was also considered so at the time, and what becomes more evident to the reader as she moves through this collection of prose is that the complexity of his language serves as a respite for the reader from the tension created by the intricate plotting. Once the reader settles into his prose, the language laden sentences that seemingly turn themselves inside out mesmerize us into a leisurely pace that is comforting in its cadence.

Click here to read the full review.

22 June 10 | Chad W. Post | Comments

For as little known as he is, for as long ago as he lived and for a short a time as he was alive, it’s amazing the amount of impacting work German short story writer, poet, dramatist, and essayist Heinrich von Kleist produced during his life time. Born in 1777 and dead of suicide in 1811, Kleist suffered the bane of many famous writers—ridiculed and dismissed during his lifetime but respected and revered once time passed and history decided he was a worthy entry in the annals of literature. Today his plays are considered classic stalwarts of the German theatrical canon and his prose is known to have heavily influenced Kafka and Mann. And once again, the English speaking contingent of world literature can thank Archipelago Books for bring his varied and masterful work to our attention.

The Selected Prose of Heinrich von Kleist is a collection of superbly crafted stories and essays that span cultures and centuries but deftly exposes the universality of human tragedy. Although at first glance the language may feel dated and melodramatic, it is deceptive to label him as a writer with an antiquated style that was only relevant to his era. His style is distinct and was also considered so at the time, and what becomes more evident to the reader as she moves through this collection of prose is that the complexity of his language serves as a respite for the reader from the tension created by the intricate plotting. Once the reader settles into his prose, the language laden sentences that seemingly turn themselves inside out mesmerize us into a leisurely pace that is comforting in its cadence.

But what drives the narrative are the perfect marriage of character and plot. From the beginning of each story, we know what will happen to these characters, yet still we read on because Kleist gives the illusion that hope is just after the turn of the page. A slight altering of a worn maxim can cover Kleist’s characters and their travails—destiny hath no fury like a fate scorned. And scorned they are.

There are the cursed lovers in “The Earthquake in Chile” and “The Betrothal of Santo Domingo,” the mysterious and plagued fortunes in “Saint Cecilia and The Power of Music (A Legend)” and “The Marquise of O . . .” and the ugly side of revenge in “Michael Kohlhaas.” “Michael Kohlhaas” is more of a novella and is the mainstay of the collection. It chronicles the path of a horse trader, Michael Kohlhaas, who is wronged by a local junker and spends the rest of his life seeking vengeance. Of course he loses everything in the process, but Kleist draws this out in a believable manner.

What’s also dazzling about this collection are the topics: unexplained pregnancy, biracial love affairs, and mental disorder. Sign me up. Perhaps the contentious nature of these stories caused hostility toward Kleist during his lifetime, but his unwavering commitment to truth makes his work seem more contemporary and more courageous considering the social mores of the time. His characters are the antecedents to what later became the classic character types in German literature. This innovativeness paired with his fast-paced plotting make him a necessary read for the consummate short story reader or writer.

Finally, the collection closes with two ruminative essays on meditation and art: “On the Gradual Formulation of Thoughts While Speaking” and “On the Theater of Marionettes” are light and astute pieces that display his process of self-reflection. After the intensity of the short stories that precede these essays, their presence and tone gives a welcome insight into the artist himself.

The Selected Prose of Heinrich von Kleist is a work that surprises, unsettles and engages. His language drowns you and the unfortunate fate of his characters enduring the relentless blows of an unforgiving plot keep you tense. These are classic tales from a talented writer whose work refuses to let literature or history to look away.

....
The Seven Good Years
The Seven Good Years by Etgar Keret
Reviewed by Vincent Francone

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. . .

Read More >

Human Acts
Human Acts by Han Kang
Reviewed by J.C. Sutcliffe

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. . .

Read More >

Nowhere to Be Found
Nowhere to Be Found by Bae Suah
Reviewed by Pierce Alquist

It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .

Read More >

La paz de los vencidos
La paz de los vencidos by Jorge Eduardo Benavides
Reviewed by Brendan Riley

Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .

Read More >

Souffles-Anfas: A Critical Anthology
Souffles-Anfas: A Critical Anthology by Various
Reviewed by Emma Ramadan

Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .

Read More >

Berlin
Berlin by Aleš Šteger
Reviewed by Vincent Francone

Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .

Read More >

The Gun
The Gun by Fuminori Nakamura
Reviewed by Will Eells

Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .

Read More >