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.
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
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. . .