I don’t think there’s a reviewer, or publication, in America that’s as diverse as Michael Orthofer’s Complete Review. Nor as meticulous about record keeping and self-aware about its reviewing trends.
Back in 2004, Michael started the How International Are We? report to find out how good of a job he was doing in reviewing books from around the world. At the time, Complete Review contained 1,200 reviews, two-thirds of which were books originally written in English.
Every 100 reviews (which happens about every six months or less—how does he do this?!) he posts an update to this report looking at the makeup of the most recent batch of reviews. He’s now up to 2,200 reviews total, and of the past 100, only 21 were written in English, whereas 23 were originally written in French. He also added a couple new languages, and has now reviewed books from 50 different languages. He also posted a chart with all the relevant data. Interestingly, books originally written in English now make up 50% of the 2,200 reviews—a much smaller percentage than the 66% it was back four years ago.
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .