All this month at Words Without Borders, Mark Sarvas will be leading a book discussion on Sandor Marai’s The Rebels.
Mark’s introductory post should be up at the WWB Blog soon, but for now, here’s his post about the club, and his introductory paragraph:
The long and interesting literary life of Sándor Márai (or Márai Sándor, as a true Hungarian would call him) suggests that, to paraphrase Fitzgerald, even Hungarians can enjoy second acts. A prolific and respected author of the Hungarian middle class, Márai only became known to American readers when Knopf published Embers in 2001, in a translation from the German – about which more anon – by Carol Brown Janeway. Márai was suddenly enjoying the sort of posthumous success that writers, if they’re honest, hope for, not unlike the attention that’s being given today to Irene Nemirovsky’s lost corpus. Some days it seems a European writer can’t catch a break in America until he’s dead. (In Márai’s case, it’s especially galling as he made San Diego his home in his later years, dying there in 1989.)
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. . .
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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. . .