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 . . .
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. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .