Garcia Marquez was my gateway into non-dead-white-guy authors in translation. I read One Hundred Years of Solitude on a chaise lounge in Waikiki, on a trip when my friend Howard and I drank the pool bar out of Heineken. But I was sober enough most of the time, enough to appreciate that there was more out there to read than my then steady diet of American noir.
The first line in One Hundred Years of Solitude and the first line of the second chapter are the only two sentences I’ve committed to memory—that, and the opening of James Crumley’s The Last Good Kiss.
Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.
When the pirate Sir Francis Drake attacked Riohacha in the sixteenth century, Ursula Iguaran’s great-great-grandmother became so frightened with the ringing of alarm bells and the firing of cannons that she lost control of her nerves and sat down on a lighted stove.
When I finally caught up with Abraham Trahearne, he was drinking beer with an alcoholic bulldog named Fireball Roberts in a ramshackle joint just outside of Sonoma, California, drinking the heart right out of a fine spring afternoon.
I first read Murakami in a hammock in Mexico on my honeymoon. I was too lazy to locate a bookstore in Tecate, but found a galley of Kafka on the Shore in the hotel library. That started a thorough run of Murakami; that’s a hell of a lot of cats in a short period of time.
For years, when asked, I would say that either The Wind-Up Bird Chronicle or One Hundred Years of Solitude was my favorite book. The World Cup of Literature rules disallow both of these books because they’re pre-2000 releases. The only Garcia Marquez work that qualifies is Memories of My Melancholy Whores. Six Murakami titles qualify, including Kafka, but The World Cup of Literature entry is the very troubled 1Q84.
There are no match-ups in the first round of The World Cup of Literature that approach the naming rights, product placement, endorsement deals, or star bling of Colombia / Japan. The burden of commercial success over perceived literary merit haunted this match-up since the bracket was posted.
Crikey, it’s fucking hot in Manaus. Sweat is pouring over my eyebrows like Gullfoss (I seriously wish that Eidur Gudjohnsen was in Brazil rather than Luka Modric). The weather favors Team Garcia Marquez who thrives in heat and humidity. Team Murakami usually practices either in the mountains or at the bottom of wells.
1Q84 entered the pitch in its spiffy Chip Kidd designed kit, visibly suffering from over-exposure. The team is comprised entirely of members of former great Murakami sides with the exception of a young striker, Aomame.
The captain of the Colombia side, unlike many footballers who go by one name, has no name. We’ll just call him Jose Arcadio, because there’s one too many of them in One Hundred Years of Solitude. When manager Jose Pekerman realized that his side was a 90 year old journalist and a sleeping virgin on valerian, he decided to park the bus.
Alberto Zaccheroni sent multiple Murakami recurring themes down the flanks. Tengo, the other forward, confused, was unable to deliver any shots on goal, and waited sullenly for a midfielder to drop the ball on his only good foot (think Eddie Johnson or Wayne Rooney).
All Japan advance, all Colombia defense. Two minutes into stoppage time, Aomame realized it might go to PKs and you don’t know what a 90-year-old whore-monger can deliver when needed. Fuka-Eri sent a cross to Aomame who did a roll and scissors, then entered her parallel universe. She reentered the pitch reality on Arcadio’s weak side and finished into the bottom left corner.
Japan 1 – 0 Colombia
George Carroll is the World Literature Editor for Shelf Awareness for Professionals and the Soccer Editor for Shelf Awareness for Readers. In other words, he’s got this nailed.
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. . .