Not sure how I missed the initial announcement of this, but Paper Republic and People’s Literature Magazine (wow, that website is something) have gotten together to put out Pathlight a downloadable magazine featuring “New Chinese Writing.”
Here’s the TOC from Issue 2:
Wang Anyi: ‘Dark Alley’
Jia Pingwa: ‘The Hunter’
Medrol: ‘Contract with the Gods’
Mai Jia: ‘A Voice from the Beyond’
Ge Fei: ‘Mona Lisa’s Smile’
Zhou Daxin: ‘Golden Fields of Wheat’
Fang Fang: ‘Yan Wu’
Anni Baobei: ‘Qizhao: Lonely Island’
Lu Min: ‘Hidden Diseases’
Wei Wei: ‘George’s Book’
Guo Wenbin: ‘Blessings of Good Fortune’
A Yi: ‘Common People’
Yu Jian: ‘Elephant’, ‘Hometown’, ‘Executing Saddam’, ‘Incident: Wind’, ‘The road I chose . . . still led to sunset and the trees’, ‘Terrorists’, ‘Unspeakable Fear and Longing’
Pan Wei: ‘Dingjiaqiao Village’, ‘Moonlight’
Tian He: ‘Going Home’, ‘Wet Nurse’, ‘Brothers Divide the Household’, ‘Tonight’s Moon’, ‘The Setting Sun’, ‘Earthenware’
Wang Xiaoni: ‘Moonlight is Extremely White’, ‘Thinking This, Then Thinking That’, ‘Those I Don’t Know I Don’t Want to Know’, ‘Early Morning’,‘Starting Anew as a Poet’
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
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. . .