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.
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .