Following up on yesterday’s post about the Helen and Kurt Wolff Symposium I thought I’d pass along the list of works (and publishers) that Denis Scheck recommended in his presentation on contemporary German literature.
Denis Scheck is one of Germany’s most respected critics, and has both a radio and a TV show about books. He’s also a translator and a literary editor. (He used to have a line of books that in some way related to the sea—which included books such as David Foster Wallace’s A Supposedly Fun Thing I’ll Never Do Again for the title essay about a cruise ship (which is one of the funniest pieces I’ve ever read)—and is now starting a line of food-related books.)
Here’s the recommendations he gave us:
I want to personally second this. Daniela was at the symposium, so I got to know her a bit, and she’s an incredible person. Her poetry was beautiful (although I don’t understand a word of German, I was still blown away by the poems she read in the original) and her publishing house is incredibly interesting. She gave a speech about Kookbooks and how it came out of an artistic movement that included a record label, various visual art projects, etc., all under the label of “Kook.” The books themselves are gorgeous—very high quality, all designed with a similar sort of abstract and eye-catching artwork—and relatively inexpensive. (Because she has almost no overhead—and no employees—she’s able to keep the prices under 20 euro, which is pretty amazing for hardcovers of this quality.) The titles are fairly experimental, and the list features a lot of younger authors who she’s trying to grow with the press. Definitely worth checking out.
Isabel Kreitz: Der 35. Mai. Als Comic. (Dressler Verlag)
Anke Feuchtenberger/Kathrin de Vries: Die Hure H wirft den Handschuh (Reprodukt Verlag)
Volker Reiche: Strizz (FAZ)
There was a bit of discussion about graphic novels (especially since this is so hot in the States these days), which is why Denis recommended the three above titles.
Hoppe was actually in the States for the PEN World Voices festival a few years back. She’s someone who comes up time and again in glowing terms, yet none of her titles have been translated into English . . . This title is a children’s book.
The book of Kuhn’s that sounds most interesting to me is one he wrote years ago that relates 29 imaginary biographies of Napoleon.
This is the author that the three women who won the Susan Sontag Translation Prize are working on. The book they’re translated (yes, it is a collaborative translation) is Koppstoff: Kanaka Sprak vom Rande der Gesellschaft, which consists of 26 fictionalized voices of Turkish women in Germany. They read a section of this at the symposium that enthralled everyone. (It helps that this came at the end of the day and was a very energetic, flowing rant filled with vular language and slang. It had an amazing rhythm, and I think all of the publishers in the room were very enthused . . . )
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
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?),. . .