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.
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .