Sarah Gerard is a writer who used to work at McNally Jackson Books, but recently took a job at BOMB Magazine. Her work has appeared in the New York Times, New York Magazine, Bookforum, the Paris Review Daily, the Los Angeles Review of Books, Slice Magazine, and other publications. Her new book, “Things I Told My Mother,” can be purchased here. She holds an MFA from The New School and lives in Brooklyn.
There’s so much praise out there for fat books, but what about little books that pack a big punch?
Nobody has talked about Commentary, yet, and I just don’t know why. This autobiographical epistolary novel was written in the weeks before Sauvageot died of tuberculosis in a sanatorium on the coast of France, and is addressed to her lover who left her for another woman just days after she admitted herself. On its premise alone, it’s almost too easy to love.
Granted, I’m a sucker for strong first-person voices, but Commentary sucked me in immediately. Sauvageot is fierce and incisive, and seconds away from inevitable death. She has nothing to lose, and says everything with that in mind. She simultaneously pities and despises the other patients in the sanatorium because she can’t escape their coughing. She hates their passive acceptance and scorns the person who betrayed her and left her alone in this place. Her sentences scream with vulnerability and suffering.
Included in the book are a foreword and note by Charles du Bos and an essay by Jean Mouton, from previous French editions, as well as a new introduction by Jennifer Moxley that contains these lines, which I had to copy into my notebook: “We recall here that in Latin, vulgare, meaning ‘of the people’ but also ‘to publish,’ was used as a slur against women who were thought to have made their bodies ‘public.’ Thus a vulgar woman is a woman who ‘publishes’ that which men believe should stay private.”
A note about the book’s design: Ugly Duckling Presse has done a beautiful job. A flesh-tone letterpress cover, clean, geometric cover design, vintage aesthetic. This book feels good in your hand.
In many ways, this book is a typical small-town procedural, complete with a cast of colorful local characters, unexpected diversions, and a protagonist who discovers more about his past than he bargained for. Except, in this story, Miguel Salvatierra isn’t looking for a killer; he’s looking for a painting. And in looking for a painting, he’s looking for a missing piece of history. And in looking for a missing piece of history, he’s looking for his father.The story is constructed elegantly around the metaphor of the scrolls Miguel Salvatierra’s father painted one-per-year throughout his lifetime: their movement from left to right is synchronized with the movement of the story – then reversed, right to left, like the movement of the turning pages of the book you’re holding, or Miguel’s journey into his family’s past. In the end, the story and the scrolls make a circle; we end up where we started. Except now (you know this already), everything is different.
To say that Marial’s setting is vivid is to blanche it. It is warm and earthy, humid and pungent, colorful, and slightly sour. It is old and familiar but not entirely unchanged. It is remote, but civic, with suggestions of encroaching commercialism. I loved inhabiting this place and felt at home among its community.
New Vessel Press was founded in 2012, and The Missing Year of Juan Salvatierra is one of only six titles they’ve published thus far, and the only one I’ve read. A second New Vessel title, Some Day by Shemi Zarhin, is translated from Hebrew and is also eligible for the award this year.
Several of this year’s BTBA judges have said that they’d love to see Sjón on the longlist, and I agree. The Whispering Muse follows a fish enthusiast, Valdimar Heraldsson, on board a Danish merchant ship occupied by the Greek god, and the ship’s second mate, Caeneus. Each night, Caeneus regales the crew with tales of his travels with Jason and the Argonauts, making this a sort of frame story along the lines of a humorous, Nordic Heart of Darkness.
While Heraldsson is quirky and entertaining, Caeneus is by far the best part of this book, as he brings with him wonder and metaphor, and a cast of characters both mythical and familiar. His story opens up varicolored and metaphysical dimensions out of reach for Heraldsson, whose focus is perpetually on the small, limited to the goings-on of the ship’s crew, in particular their diet. Caeneus: the hero; Heraldsson: the anti-hero. These disparate agents come together in the end, in a delightful recapitulation of the origin of the namesake Muse.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .