While I was at the AWP conference, a ton of interesting books arrived in our offices, all worth writing about. I’ll try and cover more of these over the next few weeks, but for now, I thought I’d look at the three titles translated from Spanish that caught my eye.
Rex by Jose Manuel Prieto is one of the spring books that I’m most excited about. Prieto’s first book — Nocturnal Butterflies of the Russian Empire — earned him comparisons to Vladimir Nabokov, and it sounds like Rex is working in that same vein, as a “sexy and zany literary game rife with allusions to Proust, Homer, Pushkin, and even Star Wars, set in a world of wealthy Russian expats and Mafiosos who have settled in Western Europe.” I talked to Esther Allen at some point when she was working on this translation, and I remember her recommending it highly. Even from the first paragraph it’s evident Prieto has a special command:
I’ve been reading it for years, the one Book. Over and over without stopping. Beginning again whenever I reach the final description of the vast party, the inaugural ball, returning immediately to the first words, when he’s dozing off in the house in Combray and dreams of stopping time in its tracks, solidifying it. I’ve opened it at random in ship terminals (Helsinki), English pubs, Istanbul cafes. Each and every time, without fail, I’ve been stunned by the intelligence, the penetration, the unique capacity to perceive things that escape every other writer. Always the right words, flowing out miraculously, as if he never had to stop and think about them, as easily and naturally as someone randomly humming syllables, nonsense noises, tra-la-la-ing a tune.
It’s thanks to Monica Carter that I recently found out about Scarletta Press. (That and the fact that the director came to the panel I was on at AWP.) A relatively young press, Scarletta is doing a couple of translations this season, including Ignacio Solares‘s Yankee Invasion, a historical novel about life in Mexico under U.S. rule. The novel is written as a memoir-in-process by an old Mexican man haunted by his experiences during the “Yankee Invasion.” Carlos Fuentes wrote an introduction for this novel, and Solares is one of Mexico’s most respected — and prolific — contemporary writers, so this should be worth checking out.
And speaking of contemporary Mexican writers, I also received a finished copy of the Best of Contemporary Mexican Fiction anthology that Dalkey Archive is putting out thanks to a National Endowment for the Arts cultural exchange project. Edited by Alvaro Uribe (with the translations edited by Olivia Sears), this volume collects stories from sixteen Mexican writers born after 1945, including Cristina Rivera-Garza, Rosa Beltran, Juan Villoro, Daniel Sada, Guillermo Samperio, and Hector Manjarrez. I’ve heard elsewhere that a lot of these stories are Bonsai-esque, and I’ve been waiting to read a number of these authors for years, so I have big hopes for this book. The only thing that sucks (aside from the fact that Open Letter couldn’t apply for this project) is the interior design: I’m all for bilingual poetry collections, but printing prose on bilingual facing pages—especially when the text on the two pages in no way matches up—is sort of bizarre and hard to read. Probably would’ve been cooler to have the English in the front and Spanish in the back, and vice-versa for the Mexican edition.
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. . .