This week at Read This Next we’re featuring Kafka’s Leopards, a short book by celebrated and prolific Brazilian author Moacyr Scliar that’s translated from the Portuguese by Thomas Beebee and forthcoming from Texas Tech University Press.
This book is one of strange misunderstandings, attributions of vital meaning to coincidence, that create the central story of interest in the protagonist’s life. Mousy is a tailor who always insists on cutting left sleeves a little shorter so that it is easier to read a wristwatch, much to the chagrin of his customers. Entrusted with a secret mission, one originally issued by Trotsky himself, Mousy heads out to Prague and bumbles his way into the life of Franz Kafka.
Fittingly, this title originally caught the eye of translator Thomas Beebee as he was looking through a shelf Portuguese books and glimpsed Kafka’s name on one of the spines. This week we have an introduction to the novel from Beebee himself, and a full review on Friday.
In case you’re not familiar with Scliar already, here’s a link to his obituary, which includes reference to the whole “Max and the Cats” and “Life of Pi” controversy:
‘‘Max and the Cats,’‘ about a Jewish youth who flees Nazi Germany on a ship carrying wild animals to a Brazilian zoo and, after a shipwreck, ends up sharing a lifeboat with a jaguar, achieved fame twice over. Critically praised on its publication in 1981, it touched off a literary storm in 2002 when the Canadian writer Yann Martel won the Man Booker Prize for ‘‘Life of Pi,’‘ about an Indian youth trapped on a boat with a tiger.
Mr. Martel’s admission that he borrowed the idea led to an impassioned debate among writers and critics on the nature of literary invention and the ownership of words and images.
“In a certain way I feel flattered that another writer considered my idea to be so good, but on the other hand, he used that idea without consulting me or even informing me,’‘ Mr. Scliar told The New York Times. ‘‘An idea is intellectual property.”
I hesitate to even mention that, since it would be much better if Scliar were known in this country for his great works—The Centaur in the Garden, The War in Bom Fim—than this controversy. But it is kind of interesting, and it’s always fun to besmirch overrated novels . . .
Anyway, click here to read the beginning of Mousy’s trip to Prague and the misfortune that begins the whole jumbled series of events.
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm. . .