Starting this week, we’ll be highlighting the five finalists in the poetry category for the BTBA. Similar to what we did for the fiction longlist, these will be framed by the question: “Why should this book win?”
Click here for all past and future posts in this series.
Today’s post is by poetry committee member Kevin Prufer.
The Book of Things by Aleš Šteger, translated by Brian Henry
Publisher: BOA Editions
Why This Book Should Win: The poems in Aleš Šteger’s The Book of Things focus with nearly comic intensity on an array of everyday objects—an egg, a coat, a toothpick, a stomach. Here, a potato recollects the soil it came from. Or a hand dryer speaks a windy language we can’t quite understand. Or a doormat forgives us all. But Šteger’s poems go far beyond mere comic description, personification, or metaphor. Rather, his objects reflect our own strange complexities—our eagerness to consume, our rationalizations and kindness. Our many cruelties and our grandiosities.
Each of these fifty poems (the book includes seven sections of seven poems plus one introductory “proem” titled “A”) fixates with obsessive detail on a different, focusing on the turnings of its imagined mind. A loaf of bread “asks you to do him harm, for you to stab him / To shred him to pieces, consume his still warm body.” “Yes, yes,” Šteger concludes, “he loves you, that is why he accepts your knife. / He knows that all his wounds crumble in your hand.” Or, of a pair of windshield wipers, he writes: “Both of them hide something, / That is why they move in such harmony. / Like two serfs in black rubber boots.”
At times playful or grimly serious, the effect of these poems slowly gathers until one has the sense not of looking at everyday objects anew, but of being looked at anew by the once inconsequential objects that surround us. And, reflected in their many, multifaceted eyes, we do no fair well.
Šteger’s The Book of Things is harrowing and hilarious, unnerving and weirdly familiar—and, most of all, ambitious in its attempt to look anew into our all-too-human darkness. And translator, Brian Henry (himself a poet of significant talent) renders these poems beautifully into an English that is both colloquial and disconcertingly plainspoken.
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. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .