The latest addition to our Book Reviews section is a piece by Monica Carter on Inka Parei’s The Shadow-Boxing Woman, which is available from Seagull Books and translated from the German by Katy Derbyshire.
Katy Derbyshire runs the fantastic Love German Books blog and is becoming one of Seagull’s go-to translators. (She’s done a number of books, but I can’t find a list online. Perhaps because Katy’s too modest to post her accomplishments on her website . . .)
Seagull Books is mystifyingly awesome. They seemed to come from out of nowhere and are doing amazing work. They’ve published works by Max Frisch and Thomas Bernhard and Tzevtan Todorov and Imre Kertesz and Abdourahman Waberi and Ivan Vladisclavic. They run a publishing school in India. They are helping to get the incredible Cahiers Series distributed in the U.S. And their “catalog” is the most amazing printed object I own. I can’t reproduce the incredible quality of this online, but maybe these two mediocre pictures will give you a sense.
Here’s the opening of Monica’s review:
Fiction post-Berlin Wall (and I am referring to immediately post-Berlin Wall) is rarely told in the way that Inka Parei has done in The Shadow-Boxing Woman. The prose imitates the dark, crumbling and ravaged atmosphere of East Berlin as well as the psychological state of the narrator, aptly named Hell. Parei sets out to write a post-modern novel about a post-era Germany. The Shadow-Boxing Woman delves deep into the wreckage of East Berlin, both physically and emotionally, by examining the minutest of details, the myopia of Hell’s world, and how fearful she is of exploring the world that just opened around her.
With Parei’s frugal and brutal prose, the reader immediately sees the rotting, barren buildings and neighborhoods, the poverty of her life, and an overwhelming sense that Hell is a forgotten human being. The abandoned apartment building she lives in with one other neighbor is disgusting: “The paint is hideous. Emitting a matt sheen and almost impossible to remove it, it resembles the excrement the German Shepherds deposit on the pavements here, fed on rust-coloured lumps of pre-processed food.” The only person determined enough to stay here in this building is her neighbor, Dunkel. Dunkel and Hell don’t speak much to each other, but when Dunkel suddenly leaves, Hell feels unstable and desperate to find her.
This relationship sets up the crime novel dynamic, although it is conveyed so subtly the reader never feels as if they are a classic “crime novel.” It seems more of a awkward love story, which it is not.
Click here to read the entire review.
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. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .