As referenced in this article in the New York Times, the April issue of Oprah Magazine has a special feature on Spring Fashion Modeled by Rising Young Poets. And one of the featured poets? None other than Anna Moschovakis, who is one of the editors at Ugly Duckling Presse (whose collection Geometries by Guillevic is a poetry finalist for the BTBA), author of a new poetry collection, You and Three Others Are Approaching a Lake, and . . . translator of Albert Cossery’s The Jokers, which is a fiction finalist for the BTBA.
Favorite quote from the piece:
“I use writing as a way of thinking. Poems allow us to hold two ideas that don’t add up.” While she’s drawn to dissonance in her writing, when it comes to clothes Moschovakis most prizes ease.
Love that turn from “dissonance” to “ease” . . .
Also worth noting that this particular issue of Oprah Magazine has a bit with David Duchovny on his favorite books, which include The Crying of Lot 49. Admittedly, I’m a bit surprised at how well done and literary this particular section was. Makes the rest of glossy mag media look illiterate. As if they didn’t already.
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. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .