In Yalo, the tenth novel by Lebanese writer Elias Khoury, is such a book. Published in Arabic in 2002 and now available in a translation by Peter Theroux, Yalo is set in 1993 and revolves around a single consciousness unable to make sense of itself or its surroundings. Its opening sentence is “Yalo did not understand what was happening,” and its closing line is “And if I don’t find the end of the story, how will I be able to write it?” In between lies a work that is both one story and several, perpetually revised under the torque of history, memory, desire, fear, understanding and loathing.
Nice to see The Guardian branching out and choosing Siddhartha Deb write on Indian Literature. As Scott Esposito at Conversational Reading points out, within the past couple months, the New York Review of Books, Harper’s, and the New Yorker have all had articles by Pankaj Mishra on new books from India.
But there is another kind of collaboration, one harder to categorise, and that is with publishers in the west. Writers working in English find that being read in India is still an after-effect of being published in Britain or America, in spite of the growing body of literature in English that is being published initially, or even exclusively, in India. Publication in the west has always been crucial, right from Graham Greene’s intervention on behalf of RK Narayan around the time the Progressive Writers’ Association was being formed, but it became a noticeable phenomenon only when the presence of Indian writers in the west began to coincide with other global trends: the increasing interest of the west in India as a market and the desire of a rising Indian elite to flaunt its affluence on a global scale.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .