One of the legends of publishing, Richard Seaver died from a heart attack on Tuesday. The New York Times has a very nice obituary that highlights his stint at Grove Press, and a bit about what he did at Arcade over the past twenty years.
For the past 20 years, Mr. Seaver and his wife ran Arcade Publishing, which has endured to become one of the most prominent independent publishers left in the United States, specializing in works by far-flung and underexposed authors from all over the world. But the mission of Arcade, to publish new voices that seemingly flout the wisdom of the marketplace, was one that Mr. Seaver began pursuing decades earlier. [. . .]
During Mr. Seaver’s dozen years at Grove — he eventually became its editor in chief — it mounted many similar challenges to decency statutes, publishing literary but taboo-challenging works like Henry Miller’s autobiographical sex odysseys, Tropic of Cancer and Tropic of Capricorn; Burroughs’s semi-surreal travelogue of a homosexual junkie, Naked Lunch; and Hubert Selby’s novel Last Exit to Brooklyn, which dealt unflinchingly with drugs, homosexuality and rape. In 1965 Grove published a translation of The Story of O, a 1954 French novel about a woman who gives away her body in slavery to a man.
He also translated more than 50 books from the French, including works by Marguerite Duras.
The Times also included this nice bit from Seaver’s recently complete memoir:
In a recently completed memoir, Mr. Seaver recalled the great literary moment of his youth. It was 1952, he was 25 and he had just finished reading two novels, Molloy and Malone Dies, which he deemed to be masterpieces. He wanted to say so.
“How do you write a meaningful comment on such rich, complex, still undiscovered work, without making a critical fool of yourself?” he wrote. “So make a fool of yourself.”
“Out, damned modesty,” he added. “If conviction means anything, then write from the heart. Slightly less tentatively, I wrote: ‘Samuel Beckett, an Irish writer long established in France, has recently published two novels which, although they defy all commentary, merit the attention of anyone interested in this century’s literature.’ ”
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. . .
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. . .
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. . .
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. . .