The new issue of Words Without Borders is now available online, and this month’s theme is “Reversals”:
We’re prolonging summer with another month of flip-flops, as international writers contemplate the reversals of various fortunes. On the air in Sarajevo and under the radar in São Paulo, in chilly garrets and overheated classrooms, tables turn, lives go topsy-turvy, and the only order is “About-face!”
Some great authors featured in this issue, including Farewell to the Queue by Vladimir Sorokin (this is an afterword to The Queue, which is coming out this fall from NYRB, and which is fantastic), The Model by Danilo Kis, and Justice Unbalanced by Joaquim Maria Machado de Assis (I love, love, love repeating Machado de Assis’s name . . . just rolls off the tongue in a exotic, fun way).
There are a number of other pieces as well, all worth checking out.
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .