In a post about Time Out New York‘s fall books preview, I referenced the forthcoming Roberto Bolano books that New Directions is bringing out over the next few years, but didn’t include many details.
Thanks to the incredibly New Directions Newsletter the full list of upcoming Bolano is now available:
Roberto Bolaño saw himself as a poet rather than a novelist. (When asked why, he replied: “the poetry makes me blush less”). His first collection of poems, The Romantic Dogs, will be published alongside 2666 this November and will captivate Bolaño readers as if they were viewing momentary portraits of his life. To whet readers’ appetites for Bolaño’s poems, “The Worm” can be read here. More work from Roberto Bolaño is set to be translated and published by New Directions well into the next few years, including:
Nazi Literature in the Americas (paperback edition, May 2009)
The Skating Rink (novel, August 2009)
In the Not-too-Distant Future:
Monsieur Pain (novel)
The Insufferable Gaucho (novel)
Assassin Whores (short stories)
Secreto De Mal (posthumous collection of writings-stories, sketches, poems, miscellany)
I’m particularly excited about Parenthetically, and you can’t go wrong with a title like Assassin Whores . . .
“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. . .