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.
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
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. . .