The new issue of World Literature Today is now available, and filled with great stuff (an interview with Anne Carson, feature on Naomi Shihab Nye, profile of 2014 Neustadt International Prize for Literature winner Mia Couto, a feature on Arabic books for teens), but in addition to the magazine, WLT has an outstanding blog and just today ran a feature on Open Letter author Inga Ābele:
Inga Ābele, born in 1972 in Riga, has written plays and screenplays, collections of poetry, stories and novels. Her play Dark Deer was staged in Latvia, at the Stuttgart State Theatre, the Bonner Biennale, and in Greece, being made a feature film in 2006. Iron Weed was staged in Latvia, Denmark, and Finland; Jasmine premiered in Latvia and was staged in Lucerne. Her poetry collections include Night Pragmatist and a collection of prose poems, The Horses of Atgazene Station. Her 2001 novel, Fire Will Not Wake You, was published in Lithuanian in 2007. Her story collection Notes During the Time of Snow won the Annual Award for Literature in 2004, and another collection, Still Life with Pomegranate, was published in French translation in 2005. Ābele’s 2008 novel High Tide was published in in Swedish translation in 2009 and in English translation in 2013.
I’m going to interrupt here to remind you that Open Letter was the press that published High Tide, and it was translated by our editor, Kaija Straumanis.
In other words: You should really buy this book. (You can even get the ebook directly from our site for a mere $9.99.)
This interview is as much about Inga’s life out in the country as it is about Lativan literature, but, and I’m sure Kaija can back this up, Inga’s living arrangement sounds pretty ideal:
Seven years ago Ābele left Riga to live in deep in the forest near Sigulde, site of an ancient castle, with her hot-air balloonist partner, Gunars Dukste. [. . .] They live on a smallholding that belonged to a baron in the 1800s: wild boars come at night to dig up the lush grass with their snouts and eat it. A tower is set up for a neighboring hunter who hasn’t had any luck yet. They’ve built a perfect, snug house on the foundations of what was once the cattle shed, with the weathered old outbuildings still standing about, a great stack of wood ready for winter. Gunars takes haunting photos of the countryside of Latvia while floating over it.
Another interruption: Gunars’s book of hot air balloon photos will be available in English in the not-too-distant future. (Kaija also translated this.) More info on that in a future post.
And finally, about Inga’s forthcoming books:
She is finishing up a novel titled The Wicker Monk, which has been three years in the writing. The “wicker” in the title comes from the way in Latgale, where the protagonist lives a life of celibacy, everything is woven together for strength, large families hold together. After that she has a contract to write a historical novel about collectivism in the 1950s in Latvia, due to be finished in 2015.
Maybe Open Letter will bring out one-both of these in the future . . . But for now—check out High Tide: it’s a stunning book that combines lush, provocative prose with a gripping plot about a love triangle and a killing. (Although this plot is told in semi-reverse chronological order . . . so the killing only makes sense at the end of the book. It’s like an anti-mystery novel, I suppose.)
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
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. . .