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.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
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. . .