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.
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. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
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.. . .