The Buenos Aires Review, which, over the past few months, has been posting really interesting works of fiction and poetry, info about kick-ass bookstores, interviews, translator’s notes, and more, has just released its first quarterly issue entitled “Tongue Ties”:
This first quarterly issue of the Buenos Aires Review boasts new literary works from a variety of tongues—French, Galician, German, Portuguese, Russian, and a touch of Hungarian accompany the Spanish and English of always—and locales ranging from Rio de Janeiro, México, London, Paris, A Coruña, and São Paulo, to Moscow, Los Angeles, Costa Rica, Mar del Plata and New York.
Fiction. We unravel the mystery of Bola Negra, the shapeshifting piece by Mario Bellatin that led to a film and an opera, tap the spirit(s) of Mad Men with James Warner, and winter with Rosario Bléfari on the Argentine coast, while Juan Álvarez gets tangled up with hitmen and supermodels in Colombia and Sacha Sperling — France’s latest enfant terrible — takes on literary glam & doom.
Time Regained. We revisit the sublime and fantastic world of Paul Karl Wilhem Scheerbart (1863-1915) through the translations of Mariana Dimópulos and Joel Morris.
Conversations: on Conceptualisms. We listen in as Latin America’s first and foremost conceptual artist Roberto Jacoby sits down with Reinaldo Laddaga, Ubuweb founder and Uncreative Writer Kenneth Goldsmith binds past and present with Michael Romano, and American poet David Shook talks poetry drones with Pola Oloixarac.
Art. We join Ben Merriman in the factory that became Costa Rica’s best museum.
Translator’s Note. Fulbright scholar Adam Z. Levy takes a heady swig of Hungarian and Yiddish.
Definitely worth checking out.
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. . .