I’m proud to announce that we have two great events lined up for this fall’s iteration of our annual Reading the World Conversation Series, which all of you should fly into Rochester to attend.
A Conversation with Jean-Marie Blas de Roblès
Tuesday, September 24th, 6:00pm
Welles-Brown Room, Rush Rhees Library
Publishers Weekly had this to say about Where Tigers Are at Home, the Winner of the prestigious Prix Médicis: “Blas de Roblès simultaneously channels Umberto Eco, Indiana Jones, and Jorge Amado . . . what begins as a faux metabiography turns to picaresque adventure with erotic escapades, scams, and unexpected changes of fortune.”
Come here Open Letter Books director Chad W. Post talk with Jean-Marie Blas de Roblès about his novel, about Athanasius Kircher—the bizarre, almost always wrong 17th century philosopher at the center of the book—and about Blas de Roblès’s time teaching French literature and philosophy in Brazil, China, Italy, and Taiwan.
A Conversation with Simon Fruelund
Tuesday, October 1st, 6:00pm
Welles-Brown Room, Rush Rhees Library
Simon Fruelund, the former editor at Gyldendal, Denmark’s largest publishing house, has burst onto the international literary scene with the publication of two books in English translations this year—_Milk and Other Stories_ and Civil Twilight—both of which have received great critical praise. As Alan Cheuse of NPR stated, “Fruelund is a master of the short form, importing some designs from our own Raymond Carver, applying them to the interstices of the European everyday, and making them his own. The title story is a masterpiece in miniature.”
His translator, K.E. Semmel, recipient of a Danish Arts Council grant and inveterate St. Louis Cardinals fan, will discuss Fruelund’s work with him, touching on issues of translation and trends in Nordic literature as a whole.
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .