On that September 11th I had a conversation with a professor friend who was teaching a creative writing class that evening. He questioned, “What can I possibly teach when all of this has happened?” While the dismay and grief were his reference, the question touches on a matter much deeper: what is art’s purpose? Either it is an indulgence, lacking gravitas—the wasted calories of dessert after a nutritious meal, good tasting but not essential—or art is a vital part of the human experience in good and hard times. This collection of landays—an oral tradition of women’s poetry in Afghanistan, with prescribed form but subtlety of subject matter—brings full-circle that conversation 13 years ago. This collection testifies in deep and important ways how art is inextricably part of life. These poems, historical and culturally central to Afghanis, can address timeless matters. . .
In a story of two emotionally distant people, Japanese author Takashi Hiraide expertly evokes powerful feelings of love, loss, and friendship in his novel The Guest Cat. The life of the unnamed narrator and his wife, both writers, is calm and simple until the appearance of their neighbors’ cat, Chibi. Warmth and caring slowly seep into their relationship, with each other and with Chibi, due to the cat’s appearance. Gradually their lives change in subtle yet impactful ways. Finding out they have to leave their home coincides with an abrupt end to Chibi’s visits, and suddenly their newly established lifestyle is in disarray. The narrator describes his life experiences, relationships, and surroundings with simple clarity and beautiful awareness. At one point, as an attempted distraction from loss, the narrator immerses himself in a book on geometry and his reflection on. . .
I have wanted to read Persian poetry ever since having heard so many good things about it from my Palestinian friend. Sohrab Sepehri’s collection, The Oasis of Now: Selected Poems, however, sounded quite new-agey—as if the poetry was canned lyricism awash in love, peace, and overly sensual descriptions of nature—and this worried me. I feared that Sepehri’s poetry would surely turn me off to anything Persian for a long time. Even when I started to read the first lines of the opening poem, “Water’s Footfall” (the title already felt like a distasteful personification), I felt depressed to have been selected to read the book. Very quickly, however, I began to shed my misgivings.
While Sepehri is not especially well known in the West, he is one of the five most popular Persian poets of the modern Persian poetry movement known as. . .
“I am honored to have ushered Mario Bellatin’s biography of the great Shiki Nagaoka, a writer and artist almost entirely unknown to English-language readers, into English for the first time, and it is my hope that this new translation begins to redress his under-acknowledgement as a major influence on contemporary world literature. Bellatin’s highly stylized study is the most important work on the author to appear since Pablo Soler Frost’s 1986 monograph, Possible Interpretation of [untranslatable symbol], notable for its pedantry, perhaps best evidenced by the average (mean) tally of semicolons per page: 47.”
This is how translator David Shook begins his preface to Shiki Nagaoka: A Nose for Fiction. However, Nagaoka never existed; Shook is just going along with a joke which, according to a New York Times article, originated at a writer’s conference years ago. When asked about his. . .
We have all observed and appreciated art. However, when we experience art, it is generally in a bubble of our own experiences and preferences. More often than not, we may know the artist only in name and that he or she is noteworthy leading to the required appreciation. It is rare that we have knowledge of how the artists’ life experiences led to their ultimate creations and masterpieces. We know nothing of the subjects, the driving forces that resulted in the creation of the piece, nor the inner turmoil the artists endured to create their works.
Masters and Servants by Pierre Michon is an incredibly special literary work in that it truly does bring art to life. The work consists of five short stories focusing on the subjects of masterpieces and the artists’ relationships with the subjects of those pieces. Michon’s. . .
It is an unusual thing to see a press specifically focus on a single author, but that is what Contra Mundum Press has done with Hungarian author Miklós Szentkuthy, and if Towards the One & Only Metaphor is any basis to judge the rest of his work, the decision is one to be celebrated. Though one of those novels (this term used here in its most all-encompassing definition) that is “not for everyone” and one that is unabashedly difficult, it is also inviting and at its highest points gorgeous, thrilling, and plainly new, even if it was originally published in 1935. Szentkuthy makes it clear throughout the work that he is aware of the challenge he is asking readers to undertake with him, and more than once expresses an attitude not of the confidence and bullying that authors like Nabokov. . .
The historian John Lukacs observed, “Fictitious characters may represent characteristic tendencies and potentialities that existed in the past” and thus “may serve the historian under certain circumstances—when, for example, these are prototypical representations of certain contemporary realities.” Eugen Ruge’s In Times of Fading Light (translated by Anthea Bell) demonstrates the truth of this observation. It is much more than a “historical novel”; it is not a plot imposed on a “period background,” as much historical fiction is. Rather, it is a thoughtful exploration of certain themes and problems of East German history from the foundation of the GDR to reunification through (fictional) characters who exemplify the tendencies and traits prevalent among East Germans.
Ruge accomplishes this character-driven exploration of the past through vignettes, each seen through one of the members of a family. Some of these impressionistic glimpses show the. . .
Gustavo Faverón Patriau’s The Antiquarian, translated by Joseph Mulligan, is a genre-blending novel, a complete immersion that delves into a lesser-used niche of genre: horror, gothic, the weird. There are visual horrors, psychological ones, and dark corners with threats lurking. When what hides in those corners is revealed, more than once I had to rub my cheek and mutter “what the fuck . . .” It also relies heavily on the structure of noir, and interweaves the two genres to the same degree that it integrates literature’s tropes—here led by Borges and theory—with genre’s. Plot and mystery do drive the book, but the intricate prose makes it so that even when you know what is about to be revealed, you want to see the tricks of language that get us there.
After an unsettling Prologue that begins with a list of. . .
What a wonderful, idiosyncratic book Weinberger has written. I say book, but the closest comparison I could make to other works being published right now are from Sylph Edition’s “Cahiers Series“—short pamphlet-like meditations by notable writers such as Ann Carson, Elfriede Jelinek, and László Krasznahorkai among the architects, playwrights, painters, and philosophers. Weinberger certainly belongs in such company; anything he writes can be assumed to be interesting, different, intellectually engaging. The essay collections he writes—and Elsewhere can be considered to be an extended meditation/essay—puts him as well alongside Rebecca Solnit, Lawrence Weschler, Sven Birkets, and Ilan Stavans.
Elsewhere consists of poems, all in translation, by writers of the Modernist era (by Weinberger’s use here roughly 1910s-1940s) illustrating a broad sensibility that Weinberger calls the sense of being “elsewhere”:
Victor Segalen, in China at the beginning of the century, writes of the “manifestation. . .
Early in Sun-mi Hwang’s novel The Hen Who Dreamed She Could Fly, the main character, a hen named Sprout, learns about sacrifice. After refusing to lay any more eggs for the farmer who owns her, she becomes “culled” and released from her chicken coop. However, she soon discovers that her new freedom comes with a loss of comforts such as shelter and food. To make matters worse, after she narrowly escapes from a menacing weasel in an open grave, the other farmyard animals, led by an arrogant rooster, reject her. “Culled?” he says. “Nobody wants you!”
Despite the harsh reality that Sprout has to face outside the coop, she doesn’t have to face it alone. While in the open grave, she meets Straggler, a mallard duck who also lives on the farm. Like Sprout, Straggler is a misfit, a wild duck. . .