I’ve been a bit checked out the past few weeks with event upon event, travels to London and L.A. and New York (twice), final papers to grade, illnesses to overcome, soccer to geek out about, etc., etc. But now that it’s summertime (I only have one grade left to enter), it’s about time to get back into talking up interesting books (HOLY SHIT DO I LOVE TRAVELER OF THE CENTURY), commenting on the book publishing industry (like the fact that I’m so glad the number of publishers’ branded readers communities is about to explode . . . and inevitably implode, since most publishers make dumb things), and ranting about stuff, like, I don’t know, particular agents who have recently pissed me off.
We’re going to have a ton of interns again this summer, which should free up a bit of time to let loose on this blog, which I plan to do in grand style . . . But before getting into those fun and games, I thought it would be best to ease back into the Three Percent world by highlighting some exciting new ventures, starting with The Buenos Aires Review, brought to you by one of Open Letter’s favorite translators, Heather Cleary.1
The BAR launched last week to great acclaim (including mentions by Bookforum, Granta, New Directions, and the like), and for good reason. This bilingual internet magazine “presents the best and latest work by emerging and established writers from the Americas, in both Spanish and English. We value translation and conversation. We publish poetry, fiction, essays, criticism, visual art, and interviews.”
And the inaugural issue is, to slang it up a bit, pretty baller.
Javier Calvo: The other day I saw a book by Alejandro Zambra on a list of the most anticipated books of 2013 in the United States, and I wanted to ask you this: what do you think of this phenomenon, which to me is one of the most important things that have happened in American publishing in a long time? I’m talking about the attention Spanish-language fiction has been getting since Bolaño. How have you experienced this change as a translator, reader, scout, etc?
Mara Faye Lethem: Do you see it as so distinct from the Boom? Because I don’t.
Javier Calvo: I do see significant differences from the Boom. To begin with, I think the boom was much more a strategy, and as such it had a center. And when I say strategy, I say it almost in the sense of the British Invasion: we’re going to take over North America. Here, I don’t see too much strategy, and as a matter of fact I don’t see how an editor could hope to get rich on the books of Aira or Zambra. Secondly, the Boom in America was a much more asymmetrical phenomenon, the rich neighbor’s consumption of a series of consumer elements related to exoticism and magic.
Look, for example, at the resounding failure as strategies of all the “commercial brands” of exportation of Latin American literature: McOndo, the Crack Movement . . .
In the current case it’s true that Bolaño has been sanctioned by the American world of culture as the “Chosen One” to replace GGM [Gabriel García Márquez] as the Great Novelist in Spanish, but I also see differences: it seems to me that the acceptance of the new literature in Spanish already lacks that aspect of consumption of the poor, the exotic, and the distinct. I believe that now, strangely, it already has a certain aspect of normalcy, acceptance of the two-directional cultural tides that exist between Spanish and English. Although this may perhaps be overly optimistic.
Mara Faye Lethem: Well, when they talk about Aira as the new Bolaño, yes, that implies a certain strategy of marketing. I think that the case of Bolaño has been an astounding example of the unpredictability of the editorial world, and the strategy of buying books in other people’s styles is ridiculous, but shows no signs of waning. I suppose people’s lack of vision, as well as their fear, just get bigger and bigger than their risk-taking . . .
There’s an interview with Junot Diaz featuring the intriguing pull-quote, “We exist in a constant state of translation. We just don’t like it.”
There’s fiction by Giovanna Rivero:
The pointless memories are the most beautiful ones. I must have been, what, eight years old when this guy with a bird’s name, Piri, came to my grandparents’ house. He’d come to help my grandmother with the little sausage and bakery business she’d set up in her third courtyard. It sounds unbelievable, I know, but the house really did have three courtyards and in the third, as I said, my grandmother had set up a real life steam-powered manufacturing line for chorizo and bread. If you showed up very early in the morning, you could imagine the smoke belched out by the grinders, ovens, crushers, fillers and pots being, logically, the smog that rose in a frenzy from the First World’s last generation of machines.
There’s a piece by Mariano López Seoane on Evita that opens by name-checking JLo and “Jenny from the Block.”
And there is more.
Overall, this is a solid opening issue, and one I’m sure we’ll be featuring time and again. (Oh, and while I’m plugging things that make me happy, Heather’s translation of Sergio Chejfec’s The Dark is at the printer now. So all your Chejfec/Cleary fans have something fantastic to look forward to reading this fall.
1 Actually, we love all the editors of Buenos Aires Review. Jennifer Croft, Pola Oloixarac, and Maxine Swann all deserve special shout-outs as well.
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
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. . .