The Guardian is one of my favorite newspapers for any number of reasons, but I particularly like their series and their overall international focus.
For instance, earlier this month they launched their New Europe Series, which features an in-depth look at four European countries: Germany, France, Spain, and Poland. (The Poland page will be available next week.)
Each section features tons of pieces about the focus country, mostly in the political, economic, and social bent, but most pertinent to this blog, there’s also a lot of literary coverage.
For years, the Guardian has been running a “World Literature Tour,” but according to Richard Lea’s intro to the new Germany focus, technology and the internets rocked the archives, decimating all the comments people wrote about the literature of Finland, Turkey, Germany, etc., etc.
So now they’re kicking this off with a new system. Instead of having a space for comments, there’s now a form where you can make a recommendation, which is fed into a very readable, very browseable spreadsheet. (I have to admit that having tried—on several occasions—to slug through the hundred of comments for any particular country, that I’m very jacked about this new method.)
Richard Lea’s overviews are all worth checking out as well, so here are links to the pieces on Germany, France, and Spain. And don’t forget to log in your own recommendations at the bottom of these pages. (Like maybe all your favorite Open Letter titles?)
As if this weren’t enough, as part of this series there are also “What They’re Reaidng In XXX” for each of the respective countries:
Meanwhile, the publishing engine continues its unstoppable course. Long ago, a few large publishing companies, such as Santillana, Planeta and Mondadori, took control of the lion’s share of the market. However, despite the steamrolling presence of these companies, not only do small publishers survive but new ones keep popping up and – even in this recession-ridden 2011 – it is these small players who manage to keep alive the embers of independence and surprise: Periférica, Libros del Asteroide, Páginas de Espuma, Minúscula and Nórdica, to name but a few distinguished examples.
Talking of new arrivals, one has to mention Juan Marsé‘s new book Caligrafía de los sueños (Lumen), an introspective inquiry into the Barcelona of the post-war period. Marsé is a master of the art of covering the same territory a thousand times and always making it seem new. The author of unforgettable portraits of a Spain facing a very uncertain future, such as Ronda del Guinardó, Si te dicen que caí and Rabos de lagartija, returns to familiar material: everything is sad in Marsé, a sadness that also includes meanness, humour and, of course, memory. His legions of followers are delighted as always.
b. But in Spain, right now, the most awaited book of the year is undoubtedly Javier Marías’s new novel, Los enamoramientos (Alfaguara). The eternal Spanish Nobel prize candidate and the author of what have already become contemporary classics, such as Tomorrow in the Battle Think on Me and A Heart So White, has handed over to the printers a spine-chilling story about the highs and lows of our miserable lives. Marías is always Marías, and his arrival in the bookshops is always the publishing event of the season. [. . .]
Looking a little further back, Anatomía de un instante (Mondadori) by Javier Cercas is one of those essay/fiction books that is so linked to a real – and brutal – event that it not only managed to hypnotise Spanish readers at the time of its well-publicised launch many months ago, but still manages to do so now. The recent commemorations of the 30th anniversary of the attempted coup d‘état by a group of military officers, on 23 February 1981 (the real pretext for this work of literary pseudo-fiction), has helped to maintain interest in Cercas’s book. He is undoubtedly one of the most interesting authors on the young literary scene in Spain, besides being an especially lucid and sharp columnist.
The Germany piece is kind of funny. It’s kind of a downer, focusing either on books that were derided by critics, or that sold really poorly:
More challenging fare was provided by Melinda Nadj Abonji. Her novel Tauben fliegen auf (“Falcons without Falconers”), a family drama about Yugoslavian immigrants in Switzerland, won the 2010 German Book Prize, Germany’s answer to the Booker. But unlike previous winners by authors such as Katharina Hacker, Julia Franck and Uwe Tellkamp – all reliable suppliers of highly marketable light novels for a moderately demanding reading public – Abonji’s novel was a commercial disaster, just reaching number 50 on the bestseller list shortly before Christmas.
New books by Günter Grass and Christa Wolf reminded us that there were once such things as great German writers. Gruppe 47 (Group 47), a literary association that influenced an entire era and encompassed the country’s best authors, disbanded long ago. Which author under 60 could play that role today? Thomas Lehr, perhaps, whose September. Fata Morgana is a linguistic tour de force set in the aftermath of 9/11 and is both celebrated and controversial. Pedantic critics derided it for not having a single punctuation mark (despite the full stop in the title), as if punctuation has anything to do with literature.
The piece on French literature doesn’t have too many recommendations, but does have some info on the French publishing scene (and French controversies):
To understand what literary life in France is like, imagine a pond. A pond that’s getting smaller and smaller, with just as many fish in it, so that the water is getting more and more crowded. You can guess what happens: each one has less and less space to evolve, to find food, and even to develop the energy required to discuss ideas. Sales of books continue to be weak in 2011, after a particularly flat year for publishers and bookshops. Apart from the usual juggernauts, such as titles from the bestselling authors Mark Lévy and Amélie Nothomb, and more sporadic successes such as the latest novel from Michel Houellebecq (winner of the Prix Goncourt in November last year), most novels and essays struggle to make any money. [. . .]
This polarisation is reflected in the way the press talks about books. In newspapers the space devoted to literature is now relatively stable after a dramatic decline over the past 10 years. As a result, critics struggle to cover the full range of books produced, caught between the need to talk about what everyone else is talking about, the need to explore types of literature that almost no one is talking about and the wish to get themselves talked about by taking up increasingly clear-cut positions.
In these circumstances, what happens to the discussion of ideas? It is still alive with regard to the big questions that run through society (political, religious, social, historical, and so on). According to the philosopher and novelist Bernard-Henri Lévy, the French situation is unusual in that, instead of being permanently fixed, “intellectual groups re-form around each issue like iron filings around a magnet”, a situation which has become more marked in the last 20 years. In January 2011 the “affaire Céline” shook the cultural world. The writer Louis-Ferdinand Céline, who wrote some truly great books and also some violently anti-semitic tracts, was included in the calendar of national commemorations, to mark the 50th anniversary of his death. His presence in this official brochure provoked such a furore that the minister of culture eventually backed down and removed Céline.
There’s tons more worth checking out here, including a review of Thomas Pletzinger’s Funeral for a Dog and an article on the 100 Years of Gallimard. It’s very easy to spend a morning (or a month) looking through all of this. Especially once all the Polish stuff is up . . .
Though far from the most convincing reason to read literature in translation, one common side effect is learning of another culture, of its history. Within that, and a stronger motivation to read, is the discovery of stories not possible within. . .
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .
“What if even in the afterlife you have to know foreign languages? Since I have already suffered so much trying to speak Danish, make sure to assign me to the Polish zone . . .”
So reads a typical aphoristic “poem”. . .
If you somehow managed to overlook the 2012 translation of Andrés Neuman’s breathtaking Traveler of the Century (and woe betide all whom continue to do so), you now have two exceptional works of fiction from the young Argentine virtuoso demanding. . .