Publishers Weekly is one of my favorite review sources, providing a slew of brief, intelligent reviews every week. I especially like the fact that they cover a higher percentage of independent, small press, and university presses than most newspapers or magazines.
In this week’s reviews there’s a nice write-up of Yoko Ogawa’s The Diving Pool: Three Novellas. My friend Amber Quereshi acquired this for Picador some time back, and I’ve been anticipating its release ever since. (I believe James Gurbutt from Harvill also bought this, adding even more literary coolness to the book, topped off by the fact that Anna Stein was the agent.)
PW calls her work “crafty” and “suspenseful,” and state “Ogawa’s tales possess a gnawing, erotic edge.” The novella “Domitory” about a Toyko wife who nurses an armless one-legged manager at her old college dormitory sounds fantastic.
And if you’re interested, two of her stories appeared in the New Yorker — The Cafeteria in the Evening and a Pool in the Rain and Pregnancy Diary.
What’s troubling about this week’s PW is the starred review of the new Dean Koontz book. Really? He needs to be reviewed? I think there should be a ban on reviewing titles I can by in the Express Checkout Line at the local Wegmans. Yuck.
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. . .
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. . .