The new issue of A Public Space arrived a couple days ago and, as always, is filled with interesting pieces.
I think it’s pretty cool that “All Foreigners Beep” from Dubravka Ugresic’s new collection Nobody’s Home leads off the issue, especially since this is one of the funniest pieces in the book.
And I really like the “Letter Home” in which Colleen Kinder “Defines Iceland” and includes one of my favorite things to tell people about Iceland:
Phone book: Listed by first names.
Why: The surname here is only a father’s tag. For example, Molly Kinder = Molly Drewsdottir (Drew’s daughter.) Bush = Georg Georgsson.
Recommended Reading: The phone book. Particularly if you are looking, say, for Americans living in Iceland. Amid the long columns of Injibjorgs and Gudmundurs, a Frank leaps right out.
Frank: A ninety-six-year-old American living in Iceland. Though when he boarded his military ship in 1941, Frank was told only the code name of his destination: “Blue Indigo.”
Also very cool is this issue’s focus on Italy that includes pieces by Antonio Tabucchi, Salvatore Niffoi, Dacia Maraini, and Erri de Luca, and interviews with Marcello Fois and Antonio Scurati. And the whole section begins with an intriguing intro by translator Will Schutt :
One of the most prominent genres of current Italian fiction, both popular and literary, is the giallo or mystery story. In the hands of literary writers, the giallo turns quirkily metaphysical and, at times, metafictional—keen on investigating essential mysteries of language and its bearing on identity. [. . .]
In the short fictions that follow, formal combinations of the straight-up mystery, the historical narrative, and the fantastic tale serve to magnify divisiveness, paradox and impenetrability, qualities emblematic of the culture’s spirit. Although none of the stories’ protagonists is a detective per se, each is engaged in some kind of detective work.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .