Doubling up on RTW book posts today . . . This is the sixth title we’re covering. Write-ups of the other titles can be found here. And information about the Reading the World program—a special collaboration between publishers and independent booksellers to promote literature in translation throughout the month of June—is available at the official RTW website.
One of the great things about Reading the World is that it’s a blend of new books by authors most Americans haven’t heard about (see earlier post on The Corpse Walker) with classic titles like Don Quixote that are some of the greatest books ever written.
This can be one of the great downsides to trying to write about all the RTW books though . . . What does one say about Don Quixote that hasn’t already been said? Is there really a need to summarize the so-called plot? I will say that the new translation by Edith Grossman is fantastic, and that if you haven’t read Don Quixote this is a perfect opportunity to lose yourself in the wonderful, weird, endlessly entertaining world of knight-errant Don Quixote and his sidekick Sancho Panza. In a way, this may well be the perfect summer-reading, beach book . . .
Or, well, you could always just watch the movie:
Not sure this was ever released here, which may be for the best. As I said when I first wrote about this, the cleavage shot at :30 is pricelessly ridiculous, and the reference to “producers who saw Shrek“ is tongue-in-cheek not funny. But “I Fought the Law” may be the supreme craptastic moment of this trailer.
This is one case where I have no qualms about saying that the book is way, way better than the movie.
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. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .