From today’s PW Daily:
Karl Pohrt, founder of Shaman Drum Bookshop in Ann Arbor, Mich., died on Wednesday. He was 65. Pohrt was diagnosed with anaplastic thyroid cancer in October 2012 and wrote about his illness on his blog, thereisnogap.com.
In 2009, plunging textbook sales and the economy forced Pohrt to close 29-year-old Shaman Drum, which had been located on the edge of the University of Michigan campus in Ann Arbor. He also ran the nonprofit Great Lakes Literary Arts Center, which he founded in 2008.
“Karl Pohrt was a true bookman: a bookseller, compulsive reader, and a publisher as well. He had a very strong sense of the material and spiritual value of the reading experience. He was a man with a mission and an unshakeable devotion to the idea that books could transform human beings and the world for the better,” said Bruce Joshua Miller of Miller Trade Marketing in Chicago. “He was the godfather of bookselling in Ann Arbor and Michigan. He’s already missed,” commented Deb Leonard, executive director of the Great Lakes Independent Booksellers Association.
A memorial service will be held for Pohrt on Sunday, July 14, at 2 p.m. at the Episcopal Church of the Incarnation, 3257 Lohr Road, Ann Arbor. The family requests that donations be made to the church or to the Children’s Literacy Network.
I don’t think I’m in a mental place where I can properly express myself about Karl’s passing or how much he meant to me. Karl was my partner-in-crime back some years ago when we started the Reading the World program—a special marketing initiative to get independent bookstores to display works in translation throughout the month of May. (Which happens to be World in Translation Month.) We spent a number of days together convincing publishers to go in on our idea, getting booksellers excited, and planning some awesome BEA parties at various consulates. (Including a really swank one at the French Consulate in D.C. And a cool one in the RedCat Theater in L.A.)
I’ll never forget all of the visits to Shaman Drum in Ann Arbor, which was one of the greatest independent bookstores ever. And Karl was one of the greatest managers ever. He assembled an amazing crew of employees, and did more for literature in Ann Arbor than the massive (also now defunct) competitor down the road . . .
And Karl was one of the most well-adjusted people I’ve ever met. A long time buddhist and friend of Gary Snyder, he exuded a certain calm and ease with the world that touched everyone who ever met him.
I hadn’t seen Karl in years. In fact, I think the last time was in 2008(?) when I surprised him by showing up at the special ceremony the University of Michigan held to announced the chair that they had named after him. It was so amazing to see him in, to go out to dinner with him and Gary Snyder and hear about his SDS days . . . And to see all of the wonderful people who came out to celebrate one of the best book people in the world. The days of panels and discussions were interesting, and it was touching to see all the effusive outpourings of praise for Karl—even if he was too modest to fully appreciate this. Still.
Damn. I knew for a while about his cancer, since he wrote about it at There Is No Gap in a way that’s human and impressive in its honesty, but I secretly hoped everything would turn out OK. Or that I’d have one last chance to talk with him in Ann Arbor and to see him smile. He was always smiling. But that’s what we always regret when someone important to us dies . . .
I wish the best to his family, and for everyone who knew him, I know we’re all thinking similar things and suffering the fact that the world is a slightly worse place now that Karl isn’t in it.
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. . .