On this week’s podcast, we welcome National Book Critics Circle board member Carolyn Kellogg to talk about the NBCC awards, the changes to the National Book Award (which set me off on a bit of a paranoid rant), Bookish and its suckishness, and a variety of other literary topics.
I also want to add a bit of an update. Since the time we spoke, I’ve finished HHhH and most of NW, and contrary to all the niceties expressed on this podcast, I’m pretty bummed out about the NBCC finalists for fiction. Both HHhH and NW are staggeringly mediocre and should be replaced by Satantango and Maidenhair. Then again, the sheer literary quality of a list of books including these two masterpieces along with Lydia Millet’s Magnificence would be so mind-blowingly amazing that no future list could ever match up. In other words, the NBCC chose to middle-mind the shit out of their list of finalists to save you—the readers—from experiencing too much literary joy all at once. That’s the best explanation I can come up with, since, wow, I gave these books way too much credit before reading them.
And don’t even get me started on the fact that Errol Morris’s A Wilderness of Error isn’t on there. (I totally blanked on this while we were recording.) But as a nod to my other conspiracy theories, I’ll give the NBCC the benefit of the doubt on this one and assume Wilderness isn’t a finalist because of Joe McGinniss.
This week’s music is We the Common (For Valerie Borden), which is off of the new Thao & The Get Down Stay Down album, We the Common. (This is an amazing album. Probably my favorite of the year so far. And is aesthetically more pleasing that HHhH and NW. Yeah, I had to.)
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. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .