This month we’re giving away copies of Giulio Mozzi’s This Is the Garden, translated from the Italian by Elizabeth Harris and pubbing in January.
Although Mozzi’s stories have been excerpted in just about every magazine imaginable, this is the first full collection of his to be published in English. This Is the Garden won the 1993 Premio Mondello and astonished the Italian literary world for its commanding vision and the beauty of its prose. In the eight stories of this collection, we see a steady reworking of the idea of the world as a fallen Eden. Here, in Mozzi’s garden, quasi-allegorical characters seek knowledge of something beyond their shaken realities: they have all lost something and react by escaping, retreating from reality into a world, as Mozzi says, that is “fantastic, mystical, absurd.”
Or, in the words of Minna Proctor:
Gorgeously rooted in the best modernist tradition of writers like Italo Calvino and Antonio Tabucchi, Giulio Mozzi is among the most fiercely literary authors emerging from Italian literature today. These stories, which in so many different ways are about writing itself, are like rivers cutting through the northern Italian countryside—lush, limpid, exotic. Elizabeth Harris’s translation beautifully renders the noble grit of Mozzi’s distinctive voice.
If that doesn’t sell you on it, there’s also this bit of praise from Federico Fellini:
I read Giulio Mozzi’s first book with real enthusiasm. What struck me most was his everyday language. Even when his subjects rely on metaphor, his words are plain, and so turn mysterious.
Follow the link below to enter yourself in the GR drawing.
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. . .