By the final day of Frankfurt, it’s clear that most people are receiving bonus points just for making it to their meeting. I even heard about someone from Dalkey and from the Flemish Literary Fund both falling asleep for a second while talking . . .
The public being there was as disturbing as I imagined it would be, with browsers wandering through meetings, way, way too many people in line to get their bags searched, and kids of all ages treating the FBF like Comic Con and dressing up like their favorite characters.
My favorite meeting was with a Japanese agent who described the “messy” publishing scene in her country. Authors publish multiple books at almost the same time with multiple publishers, foreign rights departments are basically nonexistent, back in the day no one even had contracts, and aside from the JLPP and a Japan Foundation newsletter there’s no real info about Japanese literature making its way to the U.S. Having been on an editorial trip to Tokyo, I had a good sense of the general chaos, but when you speak about it aloud, it sounds that much more crazy . . .
Speaking of the JLPP, they produced one of the best set of materials we saw at the fair. Lithuania, Estonia, and the Catalans were right there as well. Once we get back to the States, I’ll post a lot more solid info about books, authors, foreign publishers. . . Right now, after 70 meetings and the secret Canongate party and after-party where I hung out with all the beautiful people, it’s a big enough challenge to just remember what we did yesterday . . . But seriously, check out John Freeman’s coverage. He blogged the shit out of this fair.
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .