In a sort of role-reversal, Tom does most of the ranting in this podcast, partially inspired by this article entitled “Damn, You’re Not Reading Any Books by White Men This Year? That’s So Freakin Brave and Cool.” They also discuss some women in translation stats, Philip Pullman’s decision to pull out as a patron of the Oxford Literary Festival, and the NBCC Book Award Finalists.
There is some specific book talk as well, mostly about The Weight of Things, The Argonauts, and The Story of My Teeth.
This week’s music is Oh Donna by Library Voices.
Also, just a reminder, since we changed our podcast feed, you may need to unsubscribe and resubscribe to the correct feed in iTunes at that link, or right here:
Or, you can just put this feed link into whichever is your podcast app of choice:
Tell all your friends and family to also subscribe—that’s what can get us higher in that Top 200 lit podcasts list . . . And it’s also amazingly helpful in getting the podcast seen by more eyes if you can take just a moment to stop by iTunes to give us a quick rating and review.
And, as always, feel free to send any and all comments or questions to email@example.com.
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
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. . .