Those of you who subscribe to our newsletter or are members of our Facebook group already received this, but for those who haven’t, here’s this week’s newsletter, which also serves as the kickoff for our first ever fundraising campaign.
There was such a great response to last week’s giveaway of Jerzy Pilch’s The Mighty Angel that we’re definitely going to do this on a regular basis . . . Copies of the book (and congratulatory e-mails) went out to the winners yesterday—for everyone else, copies are available at better bookstores everywhere, or via our website. (And yes, the book is even prettier in real life . . .)
This week, we’d like to do two things:
First off, I’d also like to officially kick off our first $10 fundraising campaign. As a nonprofit press (that does a lot of non-revenue generating activity like the Best Translated Book Award, Three Percent, and, well, publishing translations), we have to rely on grants and individual donations to keep doing what we’re doing—making great works of world literature available to readers like you (and me).
Obviously, the more money raised via this campaign, the more we’ll be able to offer, but seeing as this is our first ever online fundraising effort, the real goal is to demonstrate a broad base of support for Open Letter and Three Percent. So, although we’re more than happy to accept gifts of any level, we’re only asking for $10. It’s an affordable amount that adds up to a very significant total, and any show of support for what we do can’t be overestimated.
To contribute—and I really hope you will—simply take two minutes to fill out the online form here.
Second, our new fall/winter 2009 catalog is now available online) with lots of interesting books that I’ll be featuring on Three Percent in the near future and giving away through this newsletter.
Thanks in advance, and next week we’ll be back to our regularly scheduled newsletter. (Unless no one contributes. Kidding, kidding.)
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. . .
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. . .