Following up on last week’s post about the various summer/fall 2010 previews that came out from The Millions and elsewhere, I thought that over the next few days, we’d highlight some forthcoming titles that sound pretty interesting to me. Sure I’m missing things and whatnot, so feel free to overload the comments section with recommendations.
The Return by Roberto Bolano, translated from the Spanish by Chris Andrews (Chile, New Directions)
Let’s start in the Southern Cone with the latest book from international superstar Roberto Bolano. Fans of his can’t get enough, and this collection of stories—his second to appear in English—should be fantastic. The earlier story collection, Last Evenings on Earth, is one of my favorite of all his ND books. And this collections sounds just as stunningly strange and wonderful: “Consider the title piece: a young party animal collapses in a Parisian disco and dies on the dance floor; just as his soul is departing his body, it realizes strange doings are afoot — and what follows defies the imagination (except Bolaño’s own).”
The Private Lives of Trees by Alejandro Zambra, translated from the Spanish by Megan McDowell (Chile, Open Letter)
Personal favorite from our list. I love Zambra’s style, his directness. This book is about a man who tells his step-daughter a nightly bedtime story about “The Private Lives of Trees.” On this particular night his wife is late . . . and then later . . . and later. And the book ends when either she arrives or he decides she never will. If you want a chance at winning a free copy of this, visit our Facebook page and “like” or comment on the Private Lives of Trees post.
Tumasik: Contemporary Writing from Singapore edited by Alvin Pang, translated from Chinese, Malay, Tamil and English by a variety of translators (Singapore, Autumn Hill)
Not surprisingly, not many works of literature from Singapore make their way into this country, which is one reason why this book is so intriguing. This anthology is a collaboration between Autumn Hill Books and the University of Iowa’s International Writing Program and features work from thirty-nine contemporary writers. To illustrate the range of pieces in this book, here’s a brief description of a few pieces (from Autumn Hill’s website): “Tan Chee Lay’s meditative ‘Post-Terrorist Phenomena,’ a candid re-examination of the War on Terror, carries the subtle assurance of centuries of literary tradition in ‘san wen,’ a popular Chinese form of creative non-fiction; Malay-Muslim Johar Buang’s verse is recognizably modern, yet draws from the same mystical tradition as Rumi and other Sufi masters; Yeng Puay Ngon’s Ginsbergesque long urban poem, Wena Poon’s magic realist short story and Xi Ni’er’s barbed fictive quips would all find favor in global literary circles today, while remaining grounded in a sense of place.”
Winter Journey by Jaume Cabre, translated from the Catalan by Patricia Lunn (Spain, Swan Isle Press)
A few years back, when I visited Barcelona on an editorial trip—and fell in love with the works of Merce Rodoreda and Quim Monzo, along with Spanish wine, tapas, and the entire Catalan culture—Jaume Cabre’s massive book Les veus del Pamano had recently come out. It sounded pretty interesting, but for a variety of reasons, we couldn’t get it on our list. So I’m really glad that someone else is making some of his work available. Winter Journey is supposedly a collection of short stories, but according to Swan Isle it is “a singularly brilliant and enigmatic narrative, novelistic in its approach, with mysterious connections linking characters, objects, and ideas across time and place. The text takes the form of a Schubertian musical progression in prose, a philosophical mystery moving freely through a labyrinth of centuries and cities, historical and contemporary.”
Tomorrow we’ll look at August . . .
Three Fates Linda Le Mark Polizzotti New Directions
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .