While reading Ricardas Gavelis’s Vilnius Poker, a line from Joyce’s Ulysses surfaced in my memory, “Stephen bent forward and peered at the mirror held out to him, cleft by a crooked crack, hair on end.” On at least six occasions, Gavelis (1950-2002) name-checks the Irish Zeus who commemorated the capital of his homeland by besieging it with the distorting optics of his prose. What Joyce did for Dublin, Gavelis has in mind to do for the capital of Lithuania: chide it, gossip about it, and bore it into the memory of those who may never visit it.
I know there are a million reasons why this would be a logistical nightmare and would never actually happen, but something clean, elegant, and weekly, like the B&N Review would be a perfect addition to the IndieBound program. The monthly Indie Next List is fine, but rather than providing bookseller blurbs about a dozen books each month, a weekly e-publication with five 250-word reviews (could even be in sections: a mystery, a children’s/YA book, a small press title, a nonfiction book, etc.) that could then be “pushed” out to readers via a blog would—in my opinion—be even more effective for bringing attention to smart booksellers and the unique books that they love.
Just my two cents . . . I really wrote this post because I think Christopher Byrd’s review is great, and he has a slightly different take on the novel than the other people who have written about it.
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. . .