It seems like a while since my last Ben Lytal post . . . Thankfully today in the NY Sun he has an interesting review of Daniil Kharms’s Today I Wrote Nothing, edited and translated by Matvei Yankelevich.
Kharms was part of the OBERIU—a group of avant-garde, Russian writers, who are often categorized as “absurdists.”
To frame this renaissance, Mr. Yankelevich wants to banish the term “absurd” in favor of OBERIU-specific terms. Beckett and Ionesco might be useful points of reference, but talk of Russian absurdism is a misnomer and, according to Mr. Yankelevich, ultimately a lazy attempt to fit OBERIU into familiar dichotomies: “absurdist writer in a repressive society” or “artist writing under Stalin.” [. . .]
Where previous poets experimented with phonetics, the Oberiuty would experiment with semantics — they would invent crazy situations, but describe them in terms anyone would understand. An example from an early poem by Kharms, written in 1927, around the time of the manifesto, is as realistic as a Chagall: “A room. The room’s on fire. / A child juts out of the cradle. / Eats his kasha. Up above, / just below the ceiling now, / the nanny’s napping upside-down.”
As Lytal points out later, there’s an “alogic” or “anti-logical” that powers Kharms’s writings, which are generally very funny, like Events.
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. . .
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. . .