From Literary Saloon:
We missed their announcement from a few weeks ago, but Jennifer Schuessler recently mentioned it at their Paper Cuts weblog: The New York Times Book Review is now available in Romanian, the only international edition of the NYTBR, licensed to Editura Univers and with a print run of 40,000 to start off with.
And from Shelf Awareness:
Anthony Frost, a new English-language bookshop in Bucharest, Romania, “has become popular among students, academics and expats, especially for its fair pricing system—which sees English-language books on sale for the same cost as in the West,” the Diplomat Bucharest reported.
As to the name?
Why “Anthony Frost?” Co-owner Vlad Niculescu said it’s the name of a friend who helped foster the three owners’ collective passion for English. “He doesn’t know we’ve named the bookshop after him yet. It may be a surprise.”
Both of these things are kind of cool, although I wish this was more of an equal flow and a Romanian book review was being translated into English along with more Romanian lit. (Well, we’ve got our eye on a major, major Romanian work for Open Letter, but I’ve got to keep that under wraps for now . . . )
Regardless, maybe Sara from NYRB is wrong about 2008 being the “Year of Hungary” . . . it just might be the “Year of Romania,” thanks in no small part to the awesome job the people at the Romanian Cultural Institute are doing to promote Romanian art.
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. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .