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.
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. . .