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.
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. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .