The latest Open Letter Newsletter is now available online.
As an update: the Vilnius Poker giveaway is now closed. We received a lot of submissions and will be sending out e-mails to the three winners (and all other entries) this afternoon.
Another book featured in the newsletter is Fonseca’s The Taker and Other Stories, which was recently reviewed on Literary License, where Gwen Dawson had this to say:
The Taker and Other Stories, by Brazilian author Rubem Fonseca, is a collection of short stories examining death in all its forms: murder, suicide, road kill (animal and human), medical emergencies, sickness, and old age. One protagonist laments, “Man is a solitary animal, an unhappy animal, and only death can fix us.” This thought echoes throughout this collection.
It was also reviewed by Nancy Yanes Hoffman:
Although Fonseca steadfastly refuses to discuss the meaning of his stories, he once said of himself, “Perhaps I am ‘The Taker.’ ” He also says, “A writer should have the courage to show what most people are afraid to say.” Fonseca’s bitterly grim stories, mostly in the first person, show the skull beneath the skin in Rio’s violent world. Tough to read, they analyze Rio’s gratuitous criminality as a symptom of universal hatred among people of every class.
Floating around the internet amid the hoopla of a new Haruki Murakami release, you may have come across a certain Murakami Bingo courtesy of Grant Snider. It is exactly what it sounds like, and it’s funny because it’s true,. . .
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”. . .