From Publishers Weekly:
Dzanc Books, a seven-year-old literary nonprofit publisher headquartered in Ann Arbor, Mich., is starting off the new year by launching a new imprint: DISQUIET. It will be the publisher’s primary imprint for publishing contemporary literature from around the world that has been translated into English. The imprint takes its name from Dzanc’s annual Disquiet International Literary Program, held in Lisbon, Portugal since 2011, which features two weeks of writing workshops, readings, and other literary pursuits for participants.
“The idea behind the writing program in Lisbon is that it got you out of your routine, got you uncomfortable, got you working,” said Dan Wickett, Dzanc executive director and co-publisher. “The imprint is an offshoot of that.” Author and editor Jeff Parker, who has published two books with Dzanc, will be in charge of acquiring and editing titles for the DISQUIET imprint, as well as overseeing their translation into English. Parker is the co-editor of Rasskazy: New Fiction from a New Russia and Amerika: Russian Writers View the United States. He also is co-director of the graduate creative writing program at the University of Toronto.
Two DISQUIET titles are scheduled for release in 2013: European Trash (Sixteen Ways to Remember a Father) by Ulf Peter Hallberg, translated from the Swedish (April) and A True Actor by Jacinto Lucas Pires, translated from the Portugese (Sept.). Sank’ya by Zakhar Prilipen, translated from the Russian, will be published by Dzanc/DISQUIET in February 2014. Each DISQUIET release will include an introduction “by a leading figure” setting the work and its author in context for American readers.
All excellent news all around. And if you have a chance to participate in the DISQUIET International Literary Program, DO IT. It’s a brilliant, and singular, experience.
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. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
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. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .