I’m not sure when FILI—the organization in charge of promoting Finnish literature abroad—redesigned its website, but the results are pretty impressive and definitely worth checking out.
I really like the Spotlight feature, which highlights a few Finnish authors, providing short overviews, excerpts in English, and information about foreign rights. Seems to be a relatively new feature—the archive contains info on only 13 authors and two batches of “picture books”—but hopefully this will be updated on a regular basis.
Some of these materials come from Books from Finland, the quarterly publication consisting of overview articles, essays on particular authors, reviews of new Finnish books, and excerpts. I’m a big fan of these “books from” publications (especially the one from Estonia, and the Vilnius Review), but I am disappointed that most of the contents aren’t available online—instead, interested readers have to subscribe for €28 for four issues. Which is a bit pricey here in the States thanks to the crap economic situation and the exchange rate, but not too terrible, I guess. Although I’d be more willing to pay if that meant I could access the full contents of all the past issues . . .
Finally, there’s a Finnish Literature in Translation database that’s fun to play with. According to this database there were 14 adult works published in English translation in the U.S. since 2000, and only one scheduled for 2008—The Parson’s Widow> by Marja-Liisa Vartio.
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. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .