Carley Parsons was one of my interns last semester, and has previously interned at Syracuse University Press and Random House. She’s graduating this spring and hoping to find a job in publishing. (HINT.)
Black Cat has published three of Ammaniti’s novels, including I’ll Steal You Away, which was longlisted for the Independent Foreign Fiction Prize.
Here’s the opening of Carley’s review:
Outcast for his seemingly baseless anger issues, fourteen-year-old Lorenzo Cumi lies to his worried mother about being invited on a ski trip with the ‘in-crowd’ in order to ease her concerns about him. After seeing how happy and relieved it makes her, Lorenzo can’t bring himself to tell her the truth—“I retreated in defeat, feeling like I had committed a murder.” Beginning with a twenty-four-year old Lorenzo unfolding a letter from his half-sister Olivia in a coffee-shop, the rest of the novella, gives a flashback account of how, ten years earlier, he took the opportunity provided by the lie to hide out in a neglected cellar attached to his family’s apartment building, where he is temporarily freed from the paranoid judgments of the adult world.
The teen-angst, adolescent narrative is not unchartered territory for Italian author Niccolò Ammaniti, whose past novels include I’m Not Scared, a coming-of-age and suspense hybrid narrative, translated into thirty-five languages, and As God Commands, which received Italy’s most prestigious literary award, the Premio Strega. Born in Rome in 1966 to a professor of developmental psychopathology, Ammaniti is often praised for his psychological lucidity and is known for exploring relationships between generation-gapped characters.
Click here to read the full review.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .