The latest addition to our Reviews Section is a piece by Julianna Romanazzi on the punctuation-confused “There Are Things I Want You to Know” About Stieg and Me by Eva Gabrielsson, translated by Linda Coverdale and published by Seven Stories.
Julianna’s been posting here for the past few months during her summer internship. She’s currently studying at Hobart & William Smith, and likes to tango.
This book isn’t exactly the sort of book we usually review here, but the whole Stieg Larsson phenomenon sure is something. And Eva Gabrielsson’s situation is pretty interesting. (See this Publishing Perspectives piece for more info about the boo.)
The book itself is meant to be a “biography“—take that as you will—of the late author’s long time partner Eva Gabrielsson, whom he met at age nineteen (she was eighteen), and stayed with for over 30 years. Eva chronicles the ups and downs of their life together, the different political movements and counter movements the couple was involved in, the roots and creation of the Millennium Trilogy, and their reasons for avoiding marriage. The last part of the book is also devoted to Eva’s loss of control over Stieg’s legacy and the downward spiral of his estate.
Gabrielsson writes “This book . . . I wish I hadn’t had to write it. It talks about Stieg, and our life together, but also about my life without him.” Reviews call the book “poignant,” “romantic,” and “touching”; and it is. There are moments of great accomplishment and personal danger mixed with the little everyday couples’ rituals that keep a relationship alive. But there is, of course, another tension.
The book admits early on, in both a foreword by Marie-Francoise Colombani and in the first chapter, that Eva is “today fighting to obtain control over Larsson’s literary estate.” An estate that is according to some sources worth $15 million dollars or more (over 97 million Swedish kronos), the sixth largest estate attributed to a dead celebrity after Michael Jackson, Elvis Presley, JRR Tolkien, Charles Schulz, and John Lennon. But that is not to say that the book does not have its moments of emotion and poignancy.
Click here to read the entire review.
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
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. . .