This is the eleventh 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.
Like a number of other online literary commentators, I’ve been blogging the hell out of Bolano’s 2666, talking it up as one of the “Big Books of BEA,” and one of the most anticipated galleys of the year. (Which really does still trip me out. Amid all the talk of how Americans don’t like foreign literature, shy away from dead authors, don’t like tildes, etc., etc., some schlubs at BEA steal the mock-up of the three-volume paperback from the FSG stand, which, granted, was very pretty, but was filled with blank pages.) I’m more than half-way done with this, and yes, it really is amazing.
Nevertheless, it’s a mistake to overlook the fantastic Bolano books New Directions has published in favor of 2666 and The Savage Detectives. All of the ND books—By Night in Chile, Distant Star, Amulet, and especially Last Evenings on Earth—are a testament to Bolano’s range and ability.
Nazi Literature in the Americas is no exception. This is one of my favorite titles from this year’s group of Reading the World books. I still giggle about the idea of recommending this to public radio listeners, since the title is somewhat misleading. Or not really—this is an encyclopedia of fascist writers, magazines, books, publishers, etc. But it’s all invented, and not at all the weighty, serious tome that the title suggests.
I wrote a review of this a few months back, and rather than re-heap the praise, I’d rather just reprint one of my favorite sections:
That was not to be Perez Mason’s last visit to the jails of socialist Cuba. In 1965 he published Poor Man’s Soup, which related—in an irreproachable style, worthy of Sholokov—the hardships of a large family living in Havana in 1950. The novel comprised fourteen chapters. The first began: “Lucia was a black woman from . . .”; the second: “Only after serving her father . . .”; the third: “Nothing had come easily to Juan . . .”; the fourth: “Gradually, tenderly, she drew him towards her . . .” The censor quickly smelled a rat. The first letters of each chapter made up the acrostic LONG LIVE HITLER. A major scandal broke out. Perez Mason defended himself haughtily: it was a simple coincidence. The censors set to work in earnest, and made a fresh discovery: the first letters of each chapter’s second paragraph made up another acrostic—THIS PLACE SUCKS. And those of the third paragraph spelled: USA WHERE ARE YOU. And the fourth paragraph: KISS MY CUBAN ASS. And so, since each chapter, without exception, contained twenty-five paragraphs, the censors and the general public soon discovered twenty-five acrostics. I screwed up, Perez Mason would say later: They were too obvious, but if I’d made it much harder, no one would have realized.
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .