On the same day that we try and celebrate literature in translation, Houghton Mifflin Harcourt (still trying to bring their website into the 1990s) fired Drenka Willen one of the most influential editors of international literature of the past half-century. She’s responsible for Harcourt’s string of great foreign authors, like Gunter Grass and Jose Saramago and Italo Calvino and on and on.
Sure, I haven’t finished my MBA and don’t understand “business,” but I think this is a blindly stupid decision. I can’t imagine many of Drenka’s living authors—Umberto Eco, Saramago, etc.—will be all that thrilled to publish their future works with Houghton Mifflin Harcourt. And why did Houghton Mifflin buy Harcourt in the first place? One would hope that the world-class caliber of authors Drenka had acquired and cultivated was one of the reasons . . .
It’s clear that HMH is in turmoil, and based on these recent decisions (freezing acquisitions, firing top editors, complete fail on digital initiatives) I feel pretty safe in saying that HMH is not a publisher I’ll be paying any attention to in the future.
On a happier note, here’s a nice profile that PW did back in 2002.
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. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .