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.
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
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. . .