Amid all the ALTA excitement (I’ll post some sort of roundup later today—I’m still recovering), this post about what John Darnielle of The Mountain Goats went up on Fader, and contains a ton of really great statements about Open Letter and international lit in general:
Before that, I read Can Xue’s Vertical Motion from Open Letter Books—they’re a translation house in Rochester. Over half of what I read is literature in translation; it’s a real passion for me. The Can Xue book is incredible—short stories that I’d call “surrealist,” but it’s a kind of clear-eyed surrealism, as if dreams had invaded the physical world. The stories slip from simple descriptions or accounts of life into strange scenes of unreality that nobody in the stories is really surprised by. Except for the title story, which is a beautiful narrative about creatures who live under the earth and find the surface. [. . .]
Finally, I’d be remiss if I didn’t mention Merce Rodoreda, who I got turned onto by Open Letter a few years ago when they published Death in Spring. It was amazing, so I read the collected short stories, which were good but not as good; and then I read A Broken Mirror, which is just a shatteringly great book about the brief rise and slow decay of a family. One of the best books I’ve ever read. It is a total mystery to me why she isn’t widely worshipped; along with Willa Cather, she’s on my list of authors whose works I intend to have read all of before I die. Tremendous, tremendous writer.
I second ALL OF THIS. Especially the bit about A Broken Mirror—that book is the one that turned me onto Rodoreda and led to our publishing Death in Spring and the stories.
It’s pretty awesome to see someone of John Darnielle’s stature praise us, and although it doesn’t mean nearly as much, I HIGHLY recommend the new Mountain Goats album, Transcendental Youth. Maybe we’ll use a clip from this on the next podcast . . .
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. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
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. . .