This is the tenth Reading the World 2008 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. There’s also a podcast discussing RTW available from “World Books.”:http://www.theworld.org/pod/worldbooks/wbpod5.mp3
New European Poets is a perfect example of the type of books Reading the World was created to promote. Over 300 large pages of poetry from more than 45 countries/regions (including Sapmi!) and a few hundred poets. The breadth of this anthology is impressive and admirable, and taken as a whole this is an incredibly valuable resource for anyone interested in reading (or publishing) European poetry.
The introduction by Wayne Miller and Kevin Prufer (the two primary editors who were assisted by twenty-three regional editors) is very interesting, especially the explanation they give of the goal of the anthology:
Our goal in putting together this anthology was not to pretend to present a comprehensive view of European poetry today—that would be impossible. Europe has nearly 750 million inhabitants and, depending on how you count, more than forty languages. In organizing an anthology simply of one nation’s poets, it’s difficult enough to determine, without the benefit of hindsight, which writers are important and will one day be influential. An anthology of European poets presents a whole host of additional problems—questions of national representation, translations, intranational languages and identifications, the politics of national boundaries, and so on. Nonetheless, we felt that it was important to bring this wholly imperfect endeavor to an American audience for three primary reasons: (1) the trajectory of European poetry has continued beyond the European poets known to an American audience; (2) culturally and historically Europe is radically differnt than it was just a few decades ago, and thus a reexamination of Europe’s poetry seems due; and (3) American poetry readers and poets seem to be less engaged with European poetry than they once were, which is a shame.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
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. . .