This summer has been a crapton of busy. There’s the normal publsihing10bookswiththreeemployeesOMG sort of daily adrenaline rush, and on top of that, and on top of working with a half-dozen interns and apprentices, this summer has been consumed by planning and planning and fretting over and planning the American Literary Translators Association conference, which will be taking place here in Rochester on October 3-6. And if you’ve never tried to organize a conference, well, don’t. (Kidding, ALTA!) It’s a wonderful experience—especially if you like that feeling of being perpetually behind with everything . . .
Anyway, all that is to explain why I haven’t been able to dedicate as much time to Three Percent as I would’ve liked. And why I haven’t been able to read as many new books as I would like. Which is why, rather than writing up long posts about all the new books I love, I’m going to start writing weekly posts about new and forthcoming and recently released books that I want to read.
I’m going to start today with five books from the Iberian Peninsula. This might seem a bit random, but I’ve always had a thing for Barcelona and for Antonio Lobo Antunes. Plus, this summer I was lucky enough to speak at the DISQUIET International Literary Program in Lisbon and fell back in love with all things Iberian.
You might think I’m kidding, but when I got back, I bought a case of Spanish wines, bitched up all the chorizo dishes, and checked out all the Iberian-related books, such as The Basque History of the World, which I would be reading RIGHT NOW if I didn’t have two Open Letter books to proof, one to edit, and a Korean manuscript to evaluate. Ah, publishing!
Sticking with the Basque interest (they have their own breed of cows and pigs and sheep! they invented their own shoes! their language is loaded with ‘x’s and ‘k’s! and has no word for “Basque,” just for “Basque speakers”! so unique, so interesting!) the current book on my nightstand is Bernardo Atxaga’s Seven Houses in France, which comes out in September from Graywolf Press. This is the third Axtaga book Graywolf has published (Obabakoak and The Accordionist’s Son being the others), and maybe the least Basque of the three—it’s set in the Congo—but it’s new, and is about corruption and things evil, which makes for good beginning-of-the-school-year reading.
Sticking with the corruption theme, the other book that arrived recently that caught my eye is Peter Bush’s new translation of Tyrant Banderas by Ramon del Valle-Inclan, which originally was published in Spanish in the 1920s. According to the NYRB press materials, this was “the first great twentieth-century novel of dictatorship, and the avowed inspiration for Garcia Marquez’s The Autumn of the Patriarch and Roa Bastos’s I, the Supreme.” That’s some pretty fine company to be keeping, and with Peter Bush’s involvement, I’m totally sold. It’s also interesting that Valle-Inclan—who was born in Galicia—wrote a book about a revolution in Mexico.
Switching gears from writers writing about places other than their homeland, Jose Saramago—whose posthumous output is approaching L. Ron Hubbard levels—has a new book out: Raised from the Ground, a novel set in a southern province of Portugal and featuring the Mau Tempo family, a family that resembles Saramago’s own grandparents. I’ve never been a huge Saramago fan, although I do enjoy reading his books for entertainment (along with those of Joyce Carol Oates, which sounds like a slight to both authors, but truly isn’t), but I’m really excited to read this, since it came out in 1980, long before the Nobel Prize and hopefully before he started relying on the sort of smug narratorial tone that infests his more recent works.
As a sidenote, the Saramago is the second book on my Iberian love-list that’s translated by Margaret Jull Costa. Not-so-coincidentally, I just finished reading The City and the Mountains by Portuguese author Eca de Queiros, which was ALSO translated by Costa. This was the first Queiros book I’ve read in full, and although it’s not perfect, it’s really interesting and has led to my adding a ton of his titles to me “to read bookshelves,” including “The Correspondence of Fradique Mendes,” which is available from Tagus Press in Gregory Rabassa’s translation. This bit of the jacket copy is exactly why this is the next Quieros book I’ll be picking up:
The Correspondence of Fradique Mendes—ostensibly letters, with an arch introduction—actually ranges widely and revels in many forms of discourse. In this singular work, originally published in 1900, one finds meditations, dialogues, observations, grand shifts in tone, occulted ironies, pastiches, lampoons, and and underlying hilarity throughout.
Another linguistic reveler of sorts—and a fellow Portugese writer—is Goncalo M. Tavares, who is best well know for his two series: The Neighborhood series, one bit of which will be coming out from Texas Tech later this year; and “The Kingdom” series, which consists of four volumes published by Dalkey Archive—Jerusalem, Learning to Pray in the Age of Technique, and Joseph Walser’s Machine. I read the first two right before meeting up with him in Lisbon, and really, really loved Jerusalem. (Learning to Pray is great, but not quite as great as Jerusalem.) In Lisbon, organizers Jeff Parker and Scott Laughlin were both high on Joseph Walser’s Machine, the most recent book in “The Kingdom” to be released. I’m a whore for trilogies and series, especially series of this sort, which don’t follow in a linear fashion, but interlock in a more interesting, complicated fashion. Something like Kjaerstad’s Wergeland Trilogy which is built from three different narrators with three different takes on Jonas Wergeland’s life, and structured in three very different ways. Or the Joyce Cary trilogy that NYRB reissued a way back. Anyway, Tavares’s “Kingdom” is more like that than like a sort of space opera trilogy featuring all the same characters. Sure, some character reappear in Tavares’s different books, but the connections between the books are more thematic and tonal than anything else. But I’ll write more about this after reading Joseph Walser’s Machine and the final book in the series.
That’s it for this week . . . Next week I’ll write about a book I want to read to be able to not understand it. This will make sense . . . Promise . . .
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There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
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In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .