12 May 09 | Chad W. Post | Comments

The “Bookishness: The New Fate of Reading in the Digital Age” conference taking place at the University of Michigan on Friday, May 15th looks pretty amazing. There are two main panels: one on “New Reading Practices and Literacies in a Digital Age” and one on “New Institutions for the Digital Age.” Sam Tanenhaus of the New York Times Book Review is on the second—very curious to hear what he has to say about this topic.

Karl Pohrt of Shaman Drum (also know as “our man in Ann Arbor”) is planning on attending, and might write something up for us.

27 February 09 | Chad W. Post | Comments [3]

Hard to say that the New York Times doesn’t review translations after this week . . . In addition to Kakutani’s possibly insane review of The Kindly Ones, this weekend’s Book Review includes articles on four works of literature in translation.

First off, Liesl Schillinger reviews the Melville House publication of Hans Fallada’s Every Man Dies Alone, which we’ll be covering in much more detail in the near future.

A signal literary event of 2009 has occurred, but if publishers had been more vigilant, it could have been a signal literary event in any of the last 60 years. This event is the belated appearance in English of the novel Every Man Dies Alone, the story of a working-class Berlin couple who took on the Third Reich with a postcard campaign intended to foment rebellion against Hitler’s Germany. Published in 1947, the book was written in 24 days by a prolific but psychologically disturbed German writer named Rudolf Ditzen, who spent a significant portion of his life in asylums (for killing a friend in a duel, for threatening his wife with a gun), in prison (for embezzling to finance his morphine habit) and in rehab. In spite of his precarious emotional state, he wrote more than two dozen books under the pen name Hans Fallada, which he took from Grimm’s Fairy Tales.

Then there’s Dennis Overbye’s positive review of Yoko Ogawa’s The Housekeeper and the Professor, which was translated by Stephen Snyder, another Salzburg Seminar participant. Ogawa’s earlier book — The Diving Pool — was included on the Independent Foreign Fiction Prize longlist, and despite my rather tepid review, is worth checking out. I’m sure we’ll review this one sometime in the near future as well. And according to Stephen, the next book of Ogawa’s that Picador is publishing is the best of the bunch . . .

There’s also Clare Clark’s piece on Morten Ramsland’s Doghead, which has been compared in Europe to the work of John Irving:

Yet Doghead is a very different book from The World According to Garp, say, or A Prayer for Owen Meany. For all their eccentric habits and physical peculiarities, Irving’s characters are essentially realistic, capable of making a profound emotional connection with the reader. Ramsland’s are larger-than-life creations who go by a roll call of nicknames, among them Jug Ears, the Bath Plug and the Little Bitch. In the world of the Erikssons, life is shocking and childhood brutal. No one is to be trusted, family least of all. Rambunctious, often imaginative, invariably cruel, the stories rattle through a catalog of adultery, duplicity and casual violence. A father sells his son’s precious coin collection to buy booze. A mother hides the letters sent to her son by his distant love. A brother tapes his sister making out with her boyfriend in the room next door and shares the cassettes with his friends. None of these characters learn from their mistakes. Instead they run away from them. And those who stay make more.

Despite its earthy comedy, then, Doghead is ultimately a bleak book.

And last but not least is Floyd Skloot’s review of Antonio Lobo Antunes’s The Fat Man and Infinity and Other Writings. I wrote a very positive review of this for Quarterly Conversation (coming soon) and really hope that this book gets even more attention than What Can I Do When Everything’s On Fire? did. It’s more accessible, and a great intro to Antunes’s world. Skloot’s review isn’t entirely positive, but he does sum up the sundry nature of the book pretty well:

Now, in The Fat Man and Infinity, he turns his attention inward, onto his own life and mind, his own experience of place and community. Neither traditional memoir nor in-depth analysis, it collects 107 brief chronicles from the weekly or biweekly columns Lobo Antunes has written for various publications, particularly the Portuguese newspaper O Público. The Fat Man and Infinity is a genuine miscellany, roughly half reminiscence or reflection and half very short fiction, that struggles to cohere. Detailed and often lyrical, it is best at offering moments of nostalgic charm.

I’m sure people will still jump on Tanenhaus for something, but this is a pretty solid issue . . . now, hopefully one of these weeks an Open Letter title will slip in there . . .

....
The Antiquarian
The Antiquarian by Gustavo Faverón Patriau
Reviewed by P.T. Smith

Gustavo Faverón Patriau’s The Antiquarian, translated by Joseph Mulligan, is a genre-blending novel, a complete immersion that delves into a lesser-used niche of genre: horror, gothic, the weird. There are visual horrors, psychological ones, and dark corners with threats lurking.. . .

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Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released. . .

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Paradises
Paradises by Iosi Havilio
Reviewed by Andrea Reece

Paradises by cult Argentinian author Iosi Havilio is the continuation of his earlier novel, Open Door, and tells the story of our narrator, a young, unnamed Argentinian woman.

The very first sentence in Paradises echoes the opening of Camus’s The Outsider. . .

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Two Crocodiles
Two Crocodiles by Fyodor Dostoevsky; Felisberto Hernández
Reviewed by Sara Shuman

This pearl from New Directions contains one short story from Russian literary master Fyodor Dostoevsky (translated by Constance Garnett) and one short story from Uruguayan forefather of magical realism Felisberto Hernández (translated by Esther Allen). Both pieces are entitled “The. . .

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