The book’s gotten a lot of nice attention already, and Stasiuk is considered one of the most interesting contemporary Polish writers. (And his wife runs a really fantastic publishing house. I actually met her in Germany a couple months ago at a special hearing on translations.) Stasiuk has a few books available in English, including Nine, which came out from Houghton Mifflin Harcourt a couple years ago. (Although I can’t find a listing for a paperback edition, which is weird and shitty.)
Dan Vitale is one of our contributing reviewers, and has written reviews for us of books by Peter Handke, Roberto Bolano, and Amos Oz, among others.
Here’s the opening of his piece on Fado:
The Polish novelist and essayist Andrzej Stasiuk owns a century-old travel map of Austro-Hungary. Aside from its fragility, he writes, its most notable feature is its level of detail: “[E]very village of half a dozen cottages, every godforsaken backwater where the train stops—even only the slow train, even only once a week—all those places are marked and labeled, all are preserved and their names can be read with a magnifying glass, just as if you were reading the past itself, or discovering the origins of a legend.”
Throughout this captivating collection of essays, Stasiuk does much the same job of preservation for contemporary Central Europe—in particular, the region of the Carpathian Mountains of southern Poland where he lives, just over the border from Slovakia, and the surrounding countries within driving distance of his home. He visits a World War I military cemetery; he encounters Gypsies who have “survived the perils of extermination and the lure of assimilation”; and he provides pithy descriptions of the cultural traits of many other Central European national and ethnic groups in this region that he calls (borrowing the term from Hannah Arendt) the “zone of mixed populations.”
Fado is named for a style of Portuguese folk song noted for its melancholy. But while a melancholic tone occasionally creeps into Stasiuk’s prose, he is no wistful nostalgist. His clear-eyed observations of the present are every bit as engaging as his reclamations of the past.
Click here to read the full review.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .