In this week’s podcast we learn the following: Chad is working through the five stages of grief about Albert Pujols and MSU (he is filled with ANGER); Tom doesn’t read a ton of nonfiction, but when he does, it tends to focus on all things violent (see a theme?); faux-karaoke singers on the subway might suck, but Karaoke Culture is awesome; and book people like to totally flip out at most every opportunity (we are an unstable people).
Anyway, in terms of our actual “Best Nonfiction of 2011” lists, you have to listen to the full podcast to get all the details, but here are a few highlights:
Along with The Hour of the Star and Scars, I won’t stop talking about this until my tongue is ripped from my mouth. (So violent!)
Carrere is on my proverbial list of “authors I must read,” especially this book, the one he wrote about Philip K. Dick, Lives Other than My Own, The Adversary, Class Trip & The Mustache.
I think everyone in America should read this book. Especially people enrolled in Business School. And anyone who doesn’t get the Occupy Movement.
For those who became interested in Mexico and Ciudad Juarez via Bolano’s 2666 . . .
This week’s intro/outro song is “Midnight City” by M83, the first song to be featured both on a Three Percent Podcast and a Victoria’s Secret commercial. Not much of a spoiler here, but I’ll be talking about M83’s epic Hurry Up, We’re Dreaming on next week’s “Best Music of 2011” podcast. And although we don’t usually post videos, I feel obliged to share the video of this song with anyone who hasn’t seen it. It’s a perfect complement to the song itself—triumphant and a little spooky, with glowing eyes and a bit of smashing. Enjoy!
A man’s country may be cramped or vast according to the size of
his heart. I’ve never found my country too small, though that isn’t
to say my heart is great. And if I could choose it’s here. . .
The recent reissuing of several of Stig Dagerman’s novels by University of Minnesota Press has rekindled interest in his works, which have until now been little-known outside Sweden. Just twenty-four when he wrote A Burnt Child (here newly translated by. . .
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .
Throughout his career—in fact from his very first book, Where the Jackals Howl (1965)—the renowned Israeli writer Amos Oz has set much of his fiction on the kibbutz, collective communities he portrays as bastions of social cohesion and stultifying conformity. . .