The latest addition to our Reviews Section is Erica Mena’s examination of Pablo Neruda’s World’s End, which came out last year from Copper Canyon, and is translated from the Spanish by William O’Daly.
In case anyone’s keeping track, that makes two—count ‘em, two—poetry reviews in the past month. All credit to Erica for both pushing for more poetry coverage (confession: the only poetry books I read are the ones that win the BTBA), and for writing these reviews. And I know there are many more poetry pieces to come . . .
Speaking of Erica, in addition to being a poet and translator, she’s also behind the Alluringly Short blog and is the co-host of the Reading the World podcast. (Which you all should a) listen to, b) subscribe to on iTunes, and c) give a five-star rating to.)
So here’s the beginning of her piece:
It’s incredibly difficult to imagine that there is anything new to say about Pablo Neruda. But Neruda, probably the most prolific poet of the twentieth century, provides endless opportunities for his readers, scholars and critics to re-evaluate his oeuvre. World’s End (Copper Canyon, 2009) is a treasure-trove of intimate insight, available in its entirety in English for the first time in William O’Daly’s careful and precise translation. In this expansive book-length poem Neruda oscillates between moments of vulnerable reflection on his own life and work (including his controversial early support of Stalin for which he denounces his naivety), bitter condemnation of the violence of the twentieth century, and a prophetic poetic voice.
World’s End, written towards the end of the poet’s life in 1968-69, is in many ways a response to the sometimes naive exuberance of his only other book-length poem Canto General, which was written over a much longer period of time from 1938-49. World’s End follows in the epic footsteps of Whitman’s Leaves of Grass, but instead of the celebratory and ultimately hopeful sense of Canto General, in this work Neruda bitterly confronts the century of violence he has participated in as witness and activist.
Click here for the full review.
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
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. . .