This week’s Read This Next title is Vertical Motion, a new collection of stories by Can Xue, which is translated from the Chinese by Karen Gernant and Chen Zeping and coming out from Open Letter in mid-September.
Super-intern Lily Ye explains why we selected this book for RTN:
This week we’ve chosen Can Xue’s Vertical Motion, a collection of truly fantastic short stories. We chose this book for many reasons. To start off, we haven’t been featuring any Asian writers so far, and since we say we’re committed to promoting literature the world over, we’d like to start correcting this oversight. Read This Next followers can also look forward to an advanced preview of a collection of short stories by celebrated Taiwanese author Huang Fan coming this September.
Can Xue (actually a pseudonym meaning “dirty snow, leftover snow” for Deng Xiaohua) has received praise from Robert Coover and Susan Sontag, has been likened to Kafka multiple times, and has been hailed as an innovative writer to be admired not just within the bounds of Chinese literature, but in world literature. Growing up in the Cultural Revolution during which her parents were sent to the countryside, Xue only received a formal education up through elementary school. She learned English on her own and has written books on Dante, Borges and Shakespeare.
Translated by Karen Gernant and Chen Zeping in collaboration, Vertical Motion features stories that do not complicate their language, but draw complicated worlds nonetheless. Readers will be dropped into settings and times which seem almost familiar, almost recognizable. Plants that grow underground, blind beaked underground creatures, cotton candy that can be summoned from thin air—all of Xue’s stories challenge what you think you know, what you think you should know, and what you think you can know. Read the title story and two more in the advanced preview to start exploring.
Click here to read “Vertical Motion,” “Red Leaves,” and “Elena.” And check back later in the week for an interview with the translators and a full review of the collection.
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. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .