Barbara Epler gave me a copy of the new New Directions catalog at the 2666 party on Friday, and it’s so amazing that it deserves its own post.
There are a ton of translations coming out from ND next year—well, OK, nine—a good mix of classic authors (Walser, Borges, Bolano) and some new (like Guillermo Rosales). Here are some of the highlights:
The Tanners by Robert Walser (trans. by Susan Bernofsky) is coming out in May and features an introduction by W. G. Sebald (trans. by Jo Catling). Walser’s first novel, I heard Susan B. read a section of this at the PEN World Voices event last spring. It was a great reading (and great event), and made me excited to read The Tanners. The part she read wasn’t as wildly off-kilter as some of the other pieces, but it reminded me of The Assistant.
I think this is the season of Susan Bernofsky (and why not?) . . . Ini addition to the Walser, she translated The Naked Eye by Yoko Tawada, her first novel to be translated into English. (ND published a few story collections, and Kodansha brought out a few novellas.) (May)
Guillermo Rosales’s The Halfway House (trans. by Anna Kushner) sounds really intriguing. It’s about an exiled Cuban writer trapped in a halfway house after arriving in Miami in a very disturbed state. Rosales destroyed most of his work before committing suicide, but this novel survived and was published posthumously. (May)
Declan Spring is editing Inger Christensen’s novel Azorno (trans. by Denise Newman) and told me that it is as good as anything he’s worked on in the past few years. He mentioned Beckett, he mentioned Borges, and based on the description, this is the book that I’m personally most exited about from the new catalog. “Set in modern Europe, Azorno is a kind of logic puzzle or house of mirrors, concerning five women and two men. . . . Reminiscent of the works of Georges Perec and Alain Robbe-Grillet . . .” (July)
Also coming out in July is Seven Nights by Borges (tran. by Eliot Weinberger), a collection of seven lectures given by Borges in the summer of 1977.
Berberova’s Billancourt Tales (trans. by Marian Schwartz; July) and Yoel Hoffmann’s Curriculum Vitae (trans. by Peter Cole; July), both sound fascinating as well. As does the next Bolano title, The Skating Rink. Told by three male narrators, “The Skating Rink is not fundamentally a crime novel, or not exclusively: it’s also about political corruption, sex, the experience of immigration, and frustrated passion.” Translated by Chris Andrews, it’s due out in August. Which should be about the time that most everyone is finishing 2666 and looking for more Bolano . . .
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. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .