With the Frankfurt Book Fair practically here, we’re rushing around the Open Letter offices desperately preparing for all the
So things might be a bit quite online for the next few days. But come next week, we’re hoping to provide some image heavy posts about our first trip to the FBF.
I’ve heard that to be cool in Frankfurt, you have to be reading some hip, slightly obscure books that you can toss casually into late-night, half-drunk conversations.
I always have a hell of a time figuring out what to bring on these 6+ hour plane rides, but a few books just arrived that I’m really excited about and seem to fit this billing:
Autonauts of the Cosmoroute by Julio Cortazar and Carol Dunlop will be out next month from Archipelago. Unfortunately, I just finished reading this (and writing a review for The Quarterly Conversation), so I can’t bring it, although I plan on mentioning it every chance I get. Seriously—this book is amazing.
John Siciliano at Penguin just sent me the new translation of Knut Hamsun’s Growth of the Soil . I’ve heard over and over how great this book is, but refused to buy the crappy looking Vintage mass market edition (again, snobbery) . Thankfully, this is part of the Penguin Classics line now, in a completely readable format.
Finally, I’m also excited about Bohumil Hrabal’s In-House Weddings, which just came out from Northwestern. Here’s a clip from the jacket copy:
Inspired by “Mrs. Tolstoy and Mrs. Dostoevsky, whose biographies about their husbands have now been published in Prague,” Bohumil Hrabal decided to produce his own autobiographical work, ostensibly fiction, from his wife’s point of view. He would write, he said, “not a putdown about myself, but a little bit of how it all was, that marriage of ours, with myself as a jewel and adornment of our life together.”
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. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .