As you may have noticed, last week, we launched a new Three Percent podcast featuring myself and Tom Roberge of New Directions. Our goal with this is to talk every week about books, events, some industry stuff, and so on. Hopefully these will be around 20 minutes long (we both talk a lot) and will provide a nice preview of forthcoming books, and a certain amount of insight into the publishing and international literature world. In a way, this is the quick-hitting, book-centric complement to Erica Mena’s Reading the World podcasts, which are more focused on in-depth translation issues.
Anyway, you can listen to these on the blog, or subscribe at iTunes where you should also give us a 5-star rating. And tell all your friends (and their friends) to do the same.
#2: This week Tom and Chad talk about the Best Translated Book Award winners, the recently completed PEN World Voices Festival, the ideas of corporate and economic censorship, Vladimir Sorokin’s coming-out events, ray guns, and Enrique Vila-Matas’s new book.
You can subscribe to the podcast in iTunes by clicking here.
Our intro/outro song this week is “He Gets Me High” by the Dum Dum Girls. You can watch the entire (intentionally?) silly video for the song by clicking here.
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
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. . .