As the Frankfurt Book Fair grows closer, there’s sure to be more and more articles and events promoting Catalan literature, and as a big fan of the Ramon Llull Institut and Barcelona, I’ll try and share as many as possible. One interesting program I came across today is GeoGraphia: Literary Landscapes:
GeoGraphia is a joint initiative by the Institut Ramon Llull, the Goethe-Institut and Literaturhaus.net to boost knowledge of Catalan and German literature in each other’s countries through an interchange of authors.
Three pairs, each made up of one German and one Catalan writer, will share their experiences on a journey through their respective countries. Acting at the same time as host and guest, native and foreigner, this journey there and back seeks to reveal the ego and the other and their roots, their common culture. During the journey, the writers will appear before audiences in a number of cities in Germany and Austria (at the Literaturhäuser) and in Catalonia, Valencia and Mallorca. The project will be presented at the Frankfurt Book Fair in October 2007.
Should be interesting, especially considering the participating writers: Katja Lange-Müller and Enric Sòria; Keto von Waberer and Carme Riera; and Michael Ebmeyer and Jordí Puntí.
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
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. . .