This morning, I talked to a journalist for quite a while about an article she’s writing on publishing Chinese literature in translation. On of the prompts for her article is Pathlight: New Chinese Writing, a magazine that I haven’t mention on here before, but definitely should have.
In addition to a general interest in this magazine—how much do you know about what’s going on in Chinese literature?—it’s also worth mentioning because it’s now available through both Amazon and Apple for $6.99. (Which is a decent price for the 277-page Winter issue.)
The complete table of contents for the Winter issue can be found here and contains Mo Yan’s Nobel Lecture, along with other pieces about him and his work, along with nine works of fiction and works from ten poets—none of which I’m currently familiar with.
It is kind of stunning that given the size of China, the insane number of writers who live there, and the general interest in what’s going on in the country on the whole, there were only 16 works by Chinese writers translated into English and published here in 2012. One can trot out all the normal reasons to explain why this might be the case, but the biggest in my mind is the utter lack of awareness among U.S. editors as to what’s going on in Chinese literature these days.
Which is why I’m going to be reading more issues of Pathlight . . .
Paul Klee’s Boat, Anzhelina Polonskaya’s newest bilingual collection of poems available in English, is an emotional journey through the bleakest seasons of the human soul, translated with great nuance by Andrew Wachtel. A former professional ice dancer(!), Polonskaya left the. . .
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. . .
There are curious similarities in three Italian mystery series, written by Maurizio de Giovanni, Andrea Camilleri, and Donna Leon.1
They’re all police procedurals, and all set in Italy: Naples, Sicily, Venice.
The three protagonists are Commissarios: Luigi Ricciardi, Salvo. . .
Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the. . .
Our Lady of the Flowers, Echoic is not only a translation, but a transformation. It is a translation of Jean Genet’s novel Notre Dame des Fleurs, transmuted from prose to poetry. Originally written in prison as a masturbatory aid (Sartre. . .
Equal parts stoner pulp thriller and psycho-physiological horror story, a pervasive sense of dread mixes with a cloud of weed smoke to seep into every line of the disturbing, complex Under This Terrible Sun. Originally published by illustrious Spanish publishers. . .
From the start, Daniel Canty’s Wigrum, published by Canadian press Talonbooks, is obviously a novel of form. Known also as a graphic designer in Quebec, Canty takes those skills and puts them towards this “novel of inventory” and creates a. . .
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. . .