So here are some things that I’ve reviewed, will review, or will do something with in some way at some point that I think are strong contenders for the 2013 BTBA.
First up: The Ingenious Gentleman and Poet Federico García Lorca Ascends to Hell by Carlos Rojas. Yep, that’s the title, and it’s a damn good book. It’s very hard to summarize what this book does—or how it does it—so I’m going to encourage you to just read the review. Suffice to say, I like fiction that appropriates historical characters and/or incidents in interesting ways, and that’s just what Rojas does here.
Hypothermia by Álvaro Enrigue. I have a review of this one in this week’s Times Literary Supplement. Enrigue was someone whom I first discovered in Dalkey Archive’s Best of Contemporary Mexican Fiction. His “On the Death of the Author” was the best thing in the book (which, I’m pretty sure, I wrote in my review of that book). Hypothermia was the book from which it came, and I’ve been eager to read it ever since. Well, now I have, and it’s a very strong book.
Seiobo There Below by Laszlo Krasznahorkai. I’ll have a review of this publishing soon. It’s my frontrunner at the moment for the BTBA. That’s kind of a bold thing to say since we gave Krasznahorkai the award last year, but, god damn, this book is incredible. It’s not fair. Maybe we should ban him for a few years if he takes the award two years running.
The End of Love by Marcos Giralt Torrente. I first found out about this book when Ethan Nosowsky of McSweeney’s Press (and now back to Graywolf) asked me to write a report on it. I recommended it without reservation, and it’s one of the best books I’ve ever reported on. These four long stories (or maybe they’re novellas) have a little of a Javier Marías thing going, a little Joseph Conrad, a little Henry James. They’re remarkable. On Oct 22 I’m going to be discussing just how great they are with their translator, the incredible Katie Silver at City Lights in San Francisco.
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .