Anyone who’s met me knows that I can, on occasion, speak a bit fast. Almost incomprehensibly fast. Especially if English isn’t your first language . . . This “talent” kind of came in handy at the 21st Century Publishing Symposium at the Reykjavik International Literary Festival last week. The symposium was extremely interesting, with presentations by Kristjan B. Jonasson on the Future of Icelandic Publishing (I did a video interview with him that will run at Publishing Perspectives later this week), Heiko Strunk on Lyrikline.org, Helga Frese-Resch on finding and publishing literature in translation, and Alexander Schwarz on e-books.
I somehow managed to fit the bulk of my speech (which is probably 45 minutes long spoken at a normal, understandable clip) into about 20 minutes . . . So, for the benefit of anyone who attended the symposium and couldn’t understand a word I said, or anyone in general interested in the future of e-books and literature in translation, click here to download a pdf version of the entire presentation.
In terms of the Festival—I am writing a longer piece about it for Publishing Perspectives, and will post another update later today about some of the interesting authors I met in Iceland. And hopefully I’ll even have a few samples to run over the next few weeks . . .
In the meantime, enjoy this picture of a bone in the prison cells in the basement of the President of Iceland’s house. (I’m just going to let that statement stand as is for the time being.)
Gustavo Faverón Patriau’s The Antiquarian, translated by Joseph Mulligan, is a genre-blending novel, a complete immersion that delves into a lesser-used niche of genre: horror, gothic, the weird. There are visual horrors, psychological ones, and dark corners with threats lurking.. . .
What a wonderful, idiosyncratic book Weinberger has written. I say book, but the closest comparison I could make to other works being published right now are from Sylph Edition’s “Cahiers Series“—short pamphlet-like meditations by notable writers such as Ann Carson,. . .
Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released. . .
When Sankya was published in Russia in 2006, it became a sensation. It won the Yasnaya Polyana Award (bestowed by direct descendants of Leo Tolstoy) and was shortlisted for the Russian Booker and the National Bestseller Award. Every member of. . .
Stalin is Dead by Rachel Shihor has been repeatedly described as kafkaesque, which strikes a chord in many individuals, causing them to run to the bookstore in the middle of the night to be consumed by surreal situations that no. . .
Paradises by cult Argentinian author Iosi Havilio is the continuation of his earlier novel, Open Door, and tells the story of our narrator, a young, unnamed Argentinian woman.
The very first sentence in Paradises echoes the opening of Camus’s The Outsider. . .
This pearl from New Directions contains one short story from Russian literary master Fyodor Dostoevsky (translated by Constance Garnett) and one short story from Uruguayan forefather of magical realism Felisberto Hernández (translated by Esther Allen). Both pieces are entitled “The. . .
I’m talking about pathological individuals; six twisted people taking part in an unpredictable game.
Carlos Labbé’s Navidad & Matanza is the story of two missing children and the journalist trying to find them. Actually. it’s the story of a group of. . .
For Lukas Zbinden, walking is a way of life. At eighty-seven, he is still an avid walker and insists on going for walks outside as often as possible, rain or snow or shine. Now that he lives in an assisted. . .
Commentary is a book that defies simple categorization. Marcelle Sauvageot’s prose lives in the world of novel, memoir, and philosophical monologue as the narrator, a woman recuperating in a sanatorium, muses on the nature of love and examines her own. . .