Shahr-e-Jaanaan: The City of the Beloved by Adeeba Shahid Talukder (Tupelo Press 2020)
Reviewed by Leonora Simonovis
Winner of the Kundiman Prize Honoring Exceptional Work by Asian American Poets, this collection is a multilayered imaginary where the author converses with Urdu poetic tradition and poets such as Faiz Ahmed Faiz, Mirza Ghalib, and Ibn-e-Insha, among others. Talukder is also a translator, which, as she explains in the preface, allows for transcreation “Based on the way the particular verses converse with the themes of my poems.” The interplay is not only between two languages, but also between two –or more– different ways of perception and experience.
The Pine Islands by Marion Poschmann, trans. by Jen Calleja (Coach House Books 2020)
Reviewed by Aramis Grant
The Pine Islands by Marion Poschmann, translated by Jen Calleja from German, follows middle-aged German professor Gilbert Silvester. Silvester is a researcher on beard styles in film, who, after dreaming of his wife cheating on him, reacts in his waking life as if his dream reveals an unquestionable truth. He allows his anger and disappointment to carry him overseas to Japan, where he meets a suicidal young man named Yosa Tamagotchi.
Vagabonds by Hao Jingfang, trans. by Ken Liu (Saga Press 2020)
Reviewed by Allison McCausland
Slow burn stories rarely find their place in modern storytelling. It is even rarer when a slow burn has so much thought and detail in its world-building that it warrants dissection of the most minute details. The novel Vagabonds by Hao Jingfang achieves this feat by taking its time revealing Jingfang’s extensive research of physics, economics, and social systems.
Sea, Land, Shadow by Kazuko Shiraishi, trans. by Yumiko Tsumara (New Directions Books, 2017)
Reviewed by Clara Guyton
Nicknamed “the Alan Ginsberg of Japan” by Kenneth Rexroth, Kazuko Shiraishi brings readers a sight-seeing drive through the mystical mountains of Japan in her collection Sea, Land, Shadow, complete with sharp turns and curves, moments of awe-inspiring depth and darkness, and instants of effervescent lightheartedness.
“on a mountain road in a traffic jam
I have poetry, so I’m fine…” (8)
Who Killed My Father by Edouard Louis (New Directions, 2019)
Reviewed by Aaron Scobie
There is a woe filling in the white space of these pages. A woe spoken incredibly soft. Who Killed My Father is a short memoir by the French writer Édouard Louis. Simultaneously literal and metaphorical, the book approaches the unique and distant relationship between Louis and his father.
“You apologized. These apologies are a new thing with you, I have to get used to them”
The Memory Police by Yoko Ogawa, trans. by Stephen Snyder (Pantheon 2019)
Reviewed by Rebecca Valley
“’Long ago, before you were born, there were many more things here,’ my mother used to tell me when I was still a child. ‘Transparent things, fragrant things… fluttery ones, bright ones…” (3)
In her essay “Fairy
Tale is Form, Form is Fairy Tale,” author Kate Bernheimer defines
the fairy tale for a contemporary audience – what fairy tales are
made of, what doors they can open.
“With their flatness, abstraction, intuitive logic, and normalized magic, fairy tales hold a key to the door fiercely locked between so-called realism and nonrealism, convention and experimental-ism, psychology and abstraction. A key for those who see these as binaries, that is.”
The Hole by José Revueltas (New Directions, 2018)
Reviewed by Andres Vaamonde
In 1969, writer and leftist revolutionary José Revueltas was in prison. It wasn’t his first time. More than thirty years earlier, when Revueltas was a teenager, he served multiple bids for his participation in the then-outlawed Communist Party of Mexico. He never attended university. Still, he became an important (if controversial) intellectual figure in Mexico, eventually finding himself in a cell in the infamous Lecumberri Prison in 1969 with nothing but time, fury, and, somehow, a typewriter.
The Emissary by Yoko Tawada, trans. by Margaret Mitsutani (New Directions 2018)
It had been my intention all along to review Yoko Tawada’s most recently translated novel The Emissary this week, and the announcement that Tawada was the recipient of the first award for translated literature since the National Book Award became the National Book Award in the early 1980s only solidified my thrill at getting the chance to write about this novel. Though all the books selected this year are exciting – I am particularly interested in finally reading Sigrid Nunez’s The Friend – I am particularly happy to see this nod to translated books in American literature. Compared to most countries America’s publication of translated works is nominal, and I respect and appreciate the National Book Award in their effort to encourage publishers to look internationally for new voices. Continue reading
Special Feature 1: SNOW
Writing from the northernmost reaches of the globe
Though I live now in a place of mild, drizzly winters where the trees stay green and the sidewalks clear even in the middle of January, as a child I spent nearly six months of every year trapped inside, gazing out the window at a landscape of ice and snow. I was raised in northern Vermont, about an hour south of Montreal and a few hours north of anywhere notable, and I still remember vividly the slate grey winter sky, the long sheets of black ice over asphalt, the high, squeaking sound of boots against snow when the temperature dipped below zero and even the packed ice screamed from the cold. Continue reading