The Brooklyn Book Festival is on Sunday, and has a host of interesting events scheduled. (I’d include the link, but the website doesn’t allow it.)
One that I’m definitely going to attend is “Brooklyn Bridges to Europe,” 3pm on Sunday at St. Francis College (180 Remsen St.):
Brooklyn authors Jonathan Lethem and Jonathan Safran Foer, in conversation with their French and German publishers, explore the appeal of their work to European audiences. Presented with The Cultural Services of the French Embassy, the French-American Foundation and the German Book Office in New York. Moderated by literary critic Liesl Schillinger.
This is part of the “Editors Exchange Program in New York” that the German Book Office, Cultural Services of the French Embassy, and French-American Foundation are putting on.
In addition to the BBF event, there’s a panel on “Promoting Literature in Translation Online” Monday at 11am and an “Editors’ ‘Buzz’ Panel” on Monday at 5. Both of these events will take place at the Deutsches Haus NYU (42 Washington Mews, off University Place).
Both events should be pretty interesting. I’ll be on the Translations Online panel with people from Words Without Borders, In Translation, PEN America, and elsewhere, and the Buzz panel will give editors from L’Olivier, Editions Allia, Harcourt, DuMont, Wylie Agency (?!), P.O.L., Houghton-Mifflin, and Tropen Verlag a chance to discuss their latest publications or books in progress.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .