Madeleine LaRue is Associate Editor and Director of Publicity of Music & Literature.
I live in Berlin, in a neighborhood with a chronically understaffed post office, so books on their way to me from the United States are usually in for an adventure.
A package from Archipelago Books, example, arrived dripping wet, even though it hadn’t rained in Berlin for a week. Luckily, the texts themselves were all intact, and a little water damage has only lent a pleasant air of world-weariness to the appearances.
Another package I received, this time from Vintage, had been opened, its contents shoved into my mailbox, and the envelope stuffed crookedly in after them. Is that even legal?, I wondered, are they even allowed to open my stuff? Turns out, yes, but only is the stuff is books. Since most of them were about hard-boiled detectives, I figured they were used to some rough handling and didn’t feel too sorry for them.
But the best (by which I mean most unusual) delivery arrived this week: an absolutely enormous blue bag bearing the seal of the Belgian post, one gaping end knotted shut with plastic cords. It was the sort of bag I imagine Santa Claus would use if he were a Belgian mailman. For a moment I hoped that there would just be one giant book inside, but instead there was another, slightly smaller blue bag, tidily wrapped and stamped by Sweden Post.
The treasure inside this strange blue matryoshka was more than worth the trouble it took to wrestle it out. Inside the blue Swedish bag, surrounded by what I assume used to be an envelope but which now resembled something closer to the insides of a sofa after they’ve been torn up by a very eager puppy, were eight books from Open Letter, dusty but otherwise unharmed. Among them were several titles I’d been looking forward to for some time: Ingrid Winterbach’s The Elusive Moth, Amanda Michalopoulou’s Why I Killed My Best Friend, and of course the splendid anthology that’s been getting so much attention on this blog recently, A Thousand Forests in One Acorn.
Of course, no matter how bizarre the story of a book’s arrival at my front door might have been, its importance fades as soon as the experience of the text itself takes over. One of those half-drowned Archipelago titles, Scholastique Mukasonga’s Our Lady of the Nile, has proved a moving and memorable read. One of the few novels from sub-Saharan Africa to be eligible for this year’s BTBA, Our Lady of the Nile centers on an elite girls’ boarding school in 1970s Rwanda, shortly before a wave of ethnic violence breaks out. I recently reviewed the novel for Music & Literature, where I wrote of it as both a collective coming-of-age story and a prelude to genocide.
The book I’m reading currently, Jenny Erpenbeck’s The End of Days, was unusual in that it arrived at my apartment completely unscathed. It’s the first novel by Erpenbeck that I’ve had a chance to read. It begins with the death of an eight-month old baby and traces the ramifications this death later has on the child’s family. But then, in the first of the book’s many “Intermezzo”s, the baby is resurrected: time rewinds itself, the baby is saved in the nick of time. She’s given a second chance at life, allowed to grow up for a few more years. When she finds another death, she is resurrected again, and so on; the main character, whose name we learn only at the end of the novel, keeps dying and keeps not being permitted to die, until she has lived through nearly the entire twentieth century.
A serious (in my opinion, unfortunately humorless) meditation on death, The End of Days was striking to me not only for its compelling premise, but also for the quality of its translation. Susan Bernofsky has produced an exceptionally powerful English version of this very German text; the book’s prose, just like its cover when it arrived in my Berlin mailbox, showed no sign of having made a transatlantic journey.
Pascal Quignard’s __The Hatred of Music_ is the densest, most arcane, most complex book I’ve read in ages. It’s also a book that covers a topic so basic, so universal—almost primordial—that just about any reader will be perversely thrilled by. . .
In Gustave Flaubert’s Madame Bovary, Flaubert attempted to highlight the ordinary, tired, and often crass nature of common expressions by italicising them within the text. When Charles, Emma Bovary’s mediocre husband, expresses himself in a manner akin to that of. . .
Eliot Weinberger takes big strides across literary history in his genuinely breathtaking short work, 19 Ways of Looking at Wang Wei, tracking translations of a short ancient Chinese poem from the publication of Ezra Pound’s Cathay in 1915 to Gary. . .
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .