I mentioned the new issue of Quarterly Conversation a couple weeks back in relation to the long piece I have in there about Antonio Lobo Antunes, but never got around to making a post about all the other great stuff in this issue . . . So, here’s a list of excellent articles that are definitely worth checking out:
Petterson is one of those special international authors who has “broken through” over the past few years, thanks in large part to Graywolf and their success with Out Stealing Horses.
I love B. S. Johnson, and have put off reading The Unfortunates for a while, just so I have one final Johnson book to read on some day when I’m snowed in my apartment . . . which, this being Rochester and all, might happen next Monday.
Edward is a great translator (check out his Chateaureynaud collection), excellent (and wide) reader, great “guest blogger,” and all around fantastic person. Edward also has a translation From D’Outre-Belgique by Yves Wellens in this issue.
Here’s what QC has to say about this (a description that totally sold me):
Providence (2009) is Juan Francisco Ferré’s most ambitious novel, his longest and more complex fictional work to date. Written during one of his stays at Brown University, Providence, as much as Ferré’s previous books, is a deeply erotic, abrasively satirical, gargantuan fiction dealing with both contemporary American culture and Spanish literary tradition. But rather than focusing on cultural differences, Ferré investigates the common literary roots of the new global culture, producing a true “transatlantic” fiction—in some sense. Providence could be considered as much a Spanish novel about America as an American novel written in Spanish.
As always, there are a ton of great reviews in this issue, including Dan Green on Harold Bloom’s The Anatomy of Influence; Christiane Craig on Laszlo Krasznahorkai and Max Neumann’s AnimalInside; Hugo Browne-Anderson on Cesar Aira’s The Seamstress and the Wind; and David Auerbach on Mihail Sebastian’s The Accident; among others.
Definitely worth spending some time with this issue . . .
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. . .