The latest addition to our Reviews Section is a piece by Will Evans (aka Bromance Will) on Kirill Medvedev’s It’s No Good, which is translated from the Russian by Keith Gessen, Mark Krotov, Corry Merrill, and Bela Shayevich and published by n+1/Ugly Duckling Presse.
By now, most of you know who Bromance Will is, but for those who don’t, he was an apprentice here last summer and is starting up his own publishing house in Dallas. (And I have to give a public shaming to University of Texas at Dallas for not snatching Will up and hiring him. Huge loss, UTD. Huge.)
Anyway, here’s the opening of his review of this really interesting sounding collection:
To call Kirill Medvedev a poet is to focus on only one aspect of his work: Medvedev is a committed socialist political activist, essayist, leftist publisher, and literary critic who lives in Moscow and who uses the medium of poetry as his artistic base for a broader discussion of art and politics, and the artist’s place in today’s global consumer capitalist society.
In 2004, Medvedev renounced the copyright to his own work and forbid any publication of his works via a LiveJournal blog post (included in this collection), announcing that any collected editions of his works henceforth would be pirated and published without the express permission of the author. Subsequently, a publisher in Moscow followed his advice and published a pirated collection of Medvedev’s works up to that point and fittingly titled it Texts Published Without Permission of the Author. Two of America’s best indie publishers, n+1 and Ugly Duckling Presse, have teamed up to present the first English-language pirated sampling of Medvedev’s works up to this point, It’s No Good: Poems/Essays/Actions, featuring wide-ranging excerpts selected from the first decade of his writing, including a well-curated selection of poetry to his most significant blog posts, along with lengthy essays on politics and art, descriptions and accounts of his political “actions,” and literary obituaries, all written between 2000 (the first cycle of poems published as It’s No Good [Всё плохо]) and 2012.
You don’t need to know anything about Russia today to read and enjoy Medevedev and, further, to identify universal themes within his work. This edition presents a potent mixture of Medvedev’s poetry and prose that, in his own words, explores the “link between politics and culture.” Medvedev breaks with centuries of Russian (and Western) artists’ attempts to create an apolitical world for themselves outside of the political and economic system in which they create their art: for Medvedev, art and politics are wholly inseparable, the artist cannot escape the influence of power and capital on their art.
Click here to read the full piece.
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In Seiobo There Below, Lázló Krasznahorkai is able to succeed at a task at which many writers fail: to dedicate an entire novel to a single message, to express an idea over and over again without falling into repetition or. . .
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Throughout his career—in fact from his very first book, Where the Jackals Howl (1965)—the renowned Israeli writer Amos Oz has set much of his fiction on the kibbutz, collective communities he portrays as bastions of social cohesion and stultifying conformity. . .
Antoon gives us a remarkable novel that in 184 pages captures the experience of an Iraqi everyman who has lived through the war with Iran in the first half of the 1980s, the 1991 Gulf War over the Kuwaiti invasion,. . .
Every fictional work set in L.A. begins with a slow crawl through its streets in the early hours of the morning right after sunrise. Maybe it’s always done this way to emphasize the vast sprawl of the city and highlight. . .