That I didn’t realize New Directions has a blog. Not terribly active, but still, today’s post about Borges’s history with ND is pretty interesting. To provide some context for this quote: earlier in the summer ND held a contest to see if anyone could identify the first publication of Borges by ND. Answer: Two stories (“Investigations on the Death of Herbert Quian” and “The Circular Ruins”) appeared in New Directions in Prose and Poetry 11. And here’s a bit more info from translator Donald Yates:
“This early appearance of Borges’s fiction was the result of James Laughlin’s recognition of Borges’s importance, and no doubt influenced his decision to offer a contract when the manuscript of Labyrinths came across his desk — after it had been rejected by other publishers, including Barney Rosset at Grove Press, who immediately rushed ahead with a translation — by Anthony Kerrigan, et al., — of Borges’s Ficciones — immediately after Borges shared with Samuel Beckett the First International Editors in 1961.
“In a sense, I think it helped in Borges’ critical reception here. A lot of reviewers sat up and paid attention when two Borges collections came across their desk and often (New York Times, e.g.) both were reviewed together. If I had it all to do over again, since we had access to all of Borges’s prose published through 1960, I would have also included `El sur,’ `El aleph.’ and as you point out, `Herbert Quain.’”
“I was properly scolded by my friend Anthony Boucher, who reviewed mystery fiction for the NYTBR, for leaving out that story that touched on a subject close to both our hearts — detective literature. He, by the way, did the first translation ever of a Borges tale in English: `The Garden of Forking Paths,’ which appeared in the August, 1948, issue of Ellery Queen’s Mystery Magazine. In early 1963, Time magazine selected Labyrinths as one of the top ten fiction titles published in 1962. And in 2008 The Authors Society of London named Labyrinths as one of 50 outstanding English-language translations of the previous 50 years.” –Donald Yates
Hopefully ND keeps this up. That place must be a treasure trove of interesting literary anecdotes.
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .