14 February 13 | Chad W. Post | Comments

For all of you lucky people living in the great city of New York, here are two fantastic upcoming events that you should try and attend.

First off, next Thursday, February 21st at 7pm at McNally Jackson, Stephen Snyder and Allison Markin Powell (both of whom make me swoon) will be talking about Japanese literature in translation as part of the always excellent Bridge Series.

Here’s a bit about both Stephen and Allison:

Stephen Snyder is Kawashima Professor of Japanese Studies at Middlebury College in Vermont. His most recent translation is Yoko Ogawa’s Revenge: Eleven Dark Tales (Picador, January 2013). He has translated works by Ogawa, Kenzaburo Oe, Ryu Murakami, and Miri Yu, among others. His translation of Kunio Tsuji’s Azuchi Okanki (The Signore) won the 1990 Japan-U.S. Friendship Commission translation prize. His translation of Natsuo Kirino’s Out was a finalist for the Edgar Award for best mystery novel in 2004. His translation of Yoko Ogawa’s Hotel Iris was short-listed for the Man Asian Literary Prize in 2011. He is the author of Fictions of Desire: Narrative Form in the Novels of Nagai Kafu and co-editor of Oe and Beyond: Fiction in Contemporary Japan, and he is currently working on a study of publishing practices in Japan and the United States and their effects on the globalization of Japanese literature.

Allison Markin Powell is a literary translator and editor. She has translated works by Motoyuki Shibata, Osamu Dazai (Schoolgirl, published by One Peace Books in 2011), and Hiromi Kawakami, among others, and was the guest editor for Words Without Borders’ first Japan issue. Her translation of Kawakami’s novel The Briefcase (Counterpoint, 2012) has been shortlisted for the 2012 Man Asian Prize.

I’ll bet this will be fantastic . . . really bummed that I’m only staying in NY through Wednesday night. And we’ll have a review of The Briefcase soon. I quite liked Hiromi Kawakami’s earlier novel, Manazuru, so I’m psyched to check this out. And Ogawa’s Revenge is top of my to read pile thanks to Will’s review.


Also next weekend, the Fourth Annual Festival Neue Literature celebrating German-language literature will be taking place across Manhattan and Brooklyn. This year’s festival is curated by Susan Bernofsky and will feature Clemens Setz (Austria), Cornelia Travnicek (Austria), Leif Randt (Germany), Silke Scheuermann (Germany), Ulrike Ulrich (Switzerland), and Tim Krohn (Switzerland), as well as U.S. authors Joshua Ferris and Justin Taylor.

There are two “signature discussion panels” taking place this year: “Closed Circuits: Shrunken Dystopias” and “Breaking Away: Contemporary Travelogues.” Here’s all the info about both of those:

Closed Circuits: Shrunken Dystopias
Saturday, February 23rd.
6:30-8:30pm @ powerHouse Arena
37 Main Street, Brooklyn

With authors Leif Randt, Silke Scheuermann, Clemens Setz, and Justin Taylor

Dystopias used to be grand affairs, encompassing entire planets, but now you can find one contained in a suburban block on the outskirts of Frankfurt, an uncannily odd resort town in a mysterious locale, or a home for children suffering the world’s strangest disorder. Dysfunction is the new dystopia, and these subtly wry to bitingly ironic commentaries uniquely encapsulate the post-modern condition.

Moderated by Susan Bernofsky


Breaking Away: Contemporary Travelogues
Sunday, February 24th
McNally Jackson Bookstore
52 Prince Street, Manhattan

With authors Tim Krohn, Cornelia Travnicek, Ulrike Ulrich, Joshua Ferris

Here today, there tomorrow. Old-style travel stories seemed always to be about characters in search of themselves as inscribed in foreign landscapes. But what if the point of the travel is more escapist than exploratory? In these novels of discovery-avoidance – an avoidance not always successful – the journey is both more and less than a destination.

Moderated by Claudia Steinberg

You can find the complete schedule of events here.

Dinner by César Aira
Reviewed by Lori Feathers

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. . .

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We're Not Here to Disappear
We're Not Here to Disappear by Olivia Rosenthal
Reviewed by Megan C. Ferguson

Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .

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The Queen's Caprice
The Queen's Caprice by Jean Echenoz
Reviewed by Christopher Iacono

Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .

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French Concession
French Concession by Xiao Bai
Reviewed by Emily Goedde

Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .

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Anna Karenina
Anna Karenina by Leo Tolstoy
Reviewed by Christopher Iacono

For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .

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The Cold Song
The Cold Song by Linn Ullmann
Reviewed by David Richardson

Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .

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This Life
This Life by Karel Schoeman
Reviewed by P. T. Smith

Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .

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