7 April 09 | Chad W. Post | Comments

The most recent addition to our review section is Jenna Furman’s piece on Suzane Adam’s Laundry, a recent release from Autumn Hill Books translated by Becka Mara McKay.

Jenna is an intern with Open Letter, a former intern for literary agent Meredith Bernstein, and an incredibly good proofreader.

Her review opens:

Suzane Adam is an renowned author in Israel and received the Kugel Prize in 2006 for her novel, Janis’s Mother. Adam’s first novel, Laundry, her first novel to be translated from Hebrew into English, is a novel that captivates from the first page with a mysterious narrator and even more elusive plot.

The novel begins en media res with a narrative that hints towards a tragic event that has occurred and the confusion and concern that it has caused to those observing its aftermath. The structure of the novel progresses into a story told from the beginning, a story that will explain the recent tragic event, which is both the novel’s opening and its conclusion, but begins when the main character is a five-year-old with curious violet eyes. The narrative itself is clear and seems almost effortless in its moving pace and mesmerizing plot, a seamlessness which the reader may contribute to both Adam and her translator, Becka Mara McKay.

Click here for the rest.

7 April 09 | Chad W. Post | Comments

Suzane Adam is an renowned author in Israel and received the Kugel Prize in 2006 for her novel, Janis’s Mother. Adam’s first novel, Laundry, her first novel to be translated from Hebrew into English, is a novel that captivates from the first page with a mysterious narrator and even more elusive plot.

The novel begins en media res with a narrative that hints towards a tragic event that has occurred and the confusion and concern that it has caused to those observing its aftermath. The structure of the novel progresses into a story told from the beginning, a story that will explain the recent tragic event, which is both the novel’s opening and its conclusion, but begins when the main character is a five-year-old with curious violet eyes. The narrative itself is clear and seems almost effortless in its moving pace and mesmerizing plot, a seamlessness which the reader may contribute to both Adam and her translator, Becka Mara McKay.

The novel depicts Ildiko, a quiet, introspective woman, curled on her couch, unmoving and silent, after she returns home from the hospital under vague circumstances. The narrator states: “For two days I’ve been trying to persuade her to speak, but she won’t, she can’t. There is so much despair in her eyes.” The reader is already questioning what could have happened to this woman, but the reader soon learns that Ildiko does intend to speak, and more than she has ever done so:

She is making pleats in the edge of the blanket, fold upon fold, her hands shaking, I’ll tell everything, from the beginning, she says in a voice I don’t recognize. It’s not me she’s talking to. I’m afraid to move, I don’t want to disturb her concentration. Slowly, slowly, minutes pass, she lifts her head up, fixes her gaze on a corner of the ceiling. Syllables, letters. Sentences take shape from the words she is speaking. I hear; I don’t understand, wait, from the beginning? No, from the end, the end is so terrible, she should start at the end, what is she talking about? Words, flat, monotonous, one after the other. She’s reciting from inside herself, a story no one knows . . .

Her loved ones realize that Ildiko hid more in her quiet, unassuming manner than they could ever comprehend. Ildilko is an observer, first and foremost, highlighted by her interest in painting as a way for her to reflect on the world without actually engaging in it.

This novel is Ildiko’s breaking of the ever-present silence and submissiveness of her life, her inability to speak to others about her traumatic experience. Silence is a pervasive theme incorporated throughout the novel with all of the characters. Ildiko’s parents, survivors of the Holocaust, live their life by the motto: “What happened, happened.” They refrain from recounting their tragedies simply because they are in the past. In a similar fashion, Ildiko keeps silent about her horrific childhood incident of being dragged to the slaughterhouse by Yutzi, her family’s adored “foster-child.” Ildiko’s silent fear of Yutzi and her threats are mollified when her family emigrates from Transylvania to Israel, a mimicry of the author’s childhood emigration, when Yutzi’s reign of terror over Ildiko is forced to end. Ildiko and her parent’s silence is the silence of survivors, a silence that must be broken in order to truly leave the past in the past; a silence that threatens their very being until the internal has been manifested in a form that can be understood, so that people can understand that what happened, happened, but needs to be told, and from the beginning.

3 December 08 | Chad W. Post | Comments

The new issue of Words Without Borders is now online, and is entitled “The Home Front”:

This month we’re reporting on the war at home, with international dispatches on domestic conflicts. Here homeland security is both threatened and maintained, as couples tie the knot but long to cut the cord, and double lives are singled out. From Norwegian train stations to Greek port towns, in Armenian saga and Mayan myth, households are besieged but also defended as the family turns on its nuclear power. Kjell Askildsen, Constance Delaunay, Juan Forn, Espido Freire, Lena Kitsopoulou, Hagop Oshagan, Miguel Angel Oxlaj Cúmez, Mercè Rodoreda, Astrid Roemer, and Olga Tokarczuk keep the home fires burning (or burning down the house).

As usual, there are a number of great pieces included, such as the Rodoreda stories (Summer and Happiness) and the review of Suzane Adam’s Laundry, which was translated by Becka Mara McKay and published by Autumn Hill Books.

9 September 08 | Chad W. Post | Comments

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’s also an excerpt from Suzane Adam’s Laundry, which recently came out from Autumn Hill Books, and a review of Ana Maria Shua’s Quick Fix, from the ever interesting, White Pine Press.

There are a number of other pieces as well, all worth checking out.

....
Kingdom Cons
Kingdom Cons by Yuri Herrera
Reviewed by Sarah Booker

Yuri Herrera is overwhelming in the way that he sucks readers into his worlds, transporting them to a borderland that is at once mythical in its construction and powerfully recognizable as a reflection of its modern-day counterpart. Kingdom Cons, originally. . .

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The Invented Part
The Invented Part by Rodrigo Fresán
Reviewed by Tiffany Nichols

Imagine reading a work that suddenly and very accurately calls out you, the reader, for not providing your full attention to the act of reading. Imagine how embarrassing it is when you, the reader, believe that you are engrossed in. . .

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A Simple Story: The Last Malambo
A Simple Story: The Last Malambo by Leila Guerriero
Reviewed by Emilee Brecht

Leila Guerriero’s A Simple Story: The Last Malambo chronicles the unique ferocity of a national dance competition in Argentina. The dance, called the malambo, pushes the physical and mental limits of male competitors striving to become champions of not only. . .

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The Little Buddhist Monk & The Proof
The Little Buddhist Monk & The Proof by Cesar Aira
Reviewed by Will Eells

Aira continues to surprise and delight in his latest release from New Directions, which collects two novellas: the first, The Little Buddhist Monk, a fairly recent work from 2005, and The Proof, an earlier work from 1989. There are a. . .

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Agnes
Agnes by Peter Stamm
Reviewed by Dorian Stuber

The narrator of Peter Stamm’s first novel, Agnes, originally published in 1998 and now available in the U.S. in an able translation by Michael Hofmann, is a young Swiss writer who has come to Chicago to research a book on. . .

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Class
Class by Francesco Pacifico
Reviewed by Vincent Francone

The thing about Class is that I don’t know what the hell to think about it, yet I can’t stop thinking about it. I’ll begin by dispensing with the usual info that one may want to know when considering adding. . .

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The Dispossessed
The Dispossessed by Szilárd Borbély
Reviewed by Jason Newport

To be, or not to be?

Hamlet’s enduring question is one that Szilárd Borbély, acclaimed Hungarian poet, verse-playwright, librettist, essayist, literary critic, short-story writer, and, finally, novelist, answered sadly in the negative, through his suicide in 2014, at the. . .

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