Reviewed by David O'Meara
His enthusiasts know the biography. Born to an Orthodox Jewish family in Minsk, Poland, in 1923, Levine was raised in Ottawa's district of Lower Town—occupied then by mostly French and Irish Catholics—before being sent to England as a pilot with the Royal Canadian Air Force during the Second World War. Returning to Canada, he attended McGill University and published two poetry collections before his first novel, The Angled Road (1952) and a memoir, Canada Made Me in 1958 (“My writing begins with that book,” Levine would write). For some critics, this book is considered the main reason for Levine’s neglect in Canadian letters. Written as a three-month journey across the country, Levine’s recollections and portraits are less than flattering, depicting a gritty, desolate, working-class panorama of mid-century Canada. He writes: “No one is really a stranger in Canada if he was brought up in a small town. They remain so much the same across the country: a vast repetition, not only of the Main Street, the side-streets, the railway track, the river; but the same dullness and boredom."
Reviewed by Jan Steyn
The table of contents announces seven chapters (the numbers are mine): 1) Dragonese, 2) D̶o̶n̶'̶t̶ Do Translations, 3) And Still No Rain / Roland Barthes Rhymes with, 4) Amateur Translator, 5) Maker of Wholes (Let’s Say of a Table), 6) Who Refuses To Let Go of Her Translations Until She Feels She Has Written the Books Herself (Or, Translation and the Principle of Tact).
I am interested in tables, so I turn to the fifth chapter and start skimming. It begins with the Bibliothèque François Mitterrand in Paris (the one with the four right-angled towers facing in on each other like open books and the “sunken forest garden” in its center). It ends with a plea to recognize the singularity of every translation. Ah, I think, she is here also “actively parrying against the all purpose explanation.”
And so: Kate Brigg’s book, This Little Art, is about translation, dragons, and tables. It argues for singularity and against all-purpose explanations. It applies the methods of genre-bending song and active parrying to evidence from Roland Barthes and the Bibliothèque François Mitterrand…
Reviewed by Jennifer Croft
Ann Quin’s The Unmapped Country may be part of a larger resurgence. Jennifer Hodgson’s curation shapes these short stories and autobiographical sketches and the unfinished Unmapped Country itself into a chronicle of someone slowly running out of steam. What is feisty, even cocky at the start will fade into exhaustion; experiments seem to yield few findings, and the attempt to understand what underlies the daily misunderstandings of modern life is frustrated and stops short in an incomprehension that comes to feel absolute...
Reviewed by Halley Parrey
Hermione Hoby’s aptly named debut novel Neon in Daylight examines the roles we assign ourselves to play and how our performances are received or simply ignored. Under Hoby’s purview, we do not fare much better at communicating than neon signs. We perform—we flare, we fizzle out—hoping to illuminate the darkness, which we achieve slightly, clumsily, if at all.
Reviewed by Irina Denischenko
As in his earlier works, Krasznahorkai’s narrators in The World Goes On find themselves wandering in a world of forgotten revelations and corrupted messages, blindly groping toward ineffable essences that forever remain out of reach. As the reader eavesdrops on their minds caught up in obsessive thought patterns, s/he witnesses consciousness on the threshold of insight. By recasting themes familiar from his novels in short story form, Krasznahorkai condenses fragmented revelations, increasing their potency, and creates a sense of wholeness that short story collections often lack. The World Goes On is a labyrinth of parallel universes that echo and correspond to one another, creating, with each new story, a déjà vu like effect that renders the reader’s escape into linear clarity nearly impossible. Moreover, the broad scope of this collection clarifies the various links between Krasznahorkai’s recurrent themes and the importance of his stylistic innovations, such as his unending sentences and estranged narrative positions that dissolve the boundaries of narrative voices...
Reviewed by Patrick Nathan
Through fourteen essays about fourteen films, Scott Esposito celebrates cinema’s power. After watching Terrence Malick’s Voyage of Time, wherein the earth’s and its universe’s respective lifespans are shown to be finite, Esposito posits that “What makes us human are the questions that are irresolvable. Our humanity will cease once we learn to render them irrelevant. And yet we strive to do just that.” Indeed, bracketing The Doubles as he does, beginning with Errol Morris’s A Brief History of Time and ending with Malick’s Voyage, Esposito establishes science’s paradoxical ability to at once shatter and deepen our collective mysteries. “Science stands opposite mystery,” he writes, “it wants answers that do not allow further mysteries”...
Reviewed by Craig Epplin
If our bones will betray us, if they can betray us, it is because they have stories to tell. Like the rings of a tree, our bones have secrets to share with those who know how to listen. And in fact, much of the plot of The Iliac Crest turns on a secret. “I know you are a woman,” the houseguest breathes into the narrator’s ear one evening. The doctor does not immediately react, but the revelation of the secret, the dramatic display of the power inherent in its possession, interrupts his internal world and sense of self.
Reviewed by Gary Michael Perry
When reading The Illustrious House of Ramires, it is difficult not to imagine the sound of pen scratching at paper. Barely a character appears who is not, in some way, engaged in the act of writing. From Father Soeiro’s history of the cathedral at Oliveira and Tonio’s compendium of scandals committed by Portugal’s oldest families to the novella whose composition sits at the novel’s centre, its content largely drawn from an epic Romantic poem by the protagonist’s Uncle Duarte, The Illustrious House is crammed to bursting with aspiring writers. Aggrieved letters are sent to the newspapers, archives sifted through, periodicals founded, the full spectrum of literate and literary nineteenth century life laid out before the reader.
Reviewed by Hannah LeClair
As a writer, Elise Levine has an affinity for the tightly compressed, and so her novel Blue Field revolves around the exploration of torturously claustrophobic underwater spaces through the risky, physically and mentally challenging practice of “crunch diving.” In the novel, Levine sends her protagonist, Marilyn, into the depths of cenotes, where submarine rivers stream from limestone caverns, and the flooded galleys of shipwrecks. Levine describes these dives in writing that is accordingly elegant and compact. Reading the novel is a sensation akin to drifting weightlessly beneath the surface of the text—”the underside of waves a shimmering twill,” in Levine’s words. In her hands, this description becomes an apt metaphor for her prose: dazzling, textured, tightly woven. Such elegance is the result of careful and unremitting practice. Levine, a transplant to Baltimore from her native Toronto, is an exacting writer whose two other books are a testament to her drive for precision: a 2003 novel entitled Requests and Dedications, and the acclaimed 1995 collection, Driving Men Mad, in which her short stories unfolded across sometimes as few as three or four pages in dense, highly controlled language...
Reviewed by Sara Nović
I picked up Daša Drndić’s Belladonna a few weeks before neo-Nazi rallies swept through the United States, the latest show of force by the burgeoning “Alt-Right” and white supremacist movement. The real world had left me on edge. And as with any Croatian or ex-Yugoslavian literature, I expected an emotional read—no matter the subject matter, Balkan novels often find me awash in nostalgia for one of the places I call home, or stung with grief when they lay bare the wars of the ‘90s. It will come as no surprise for those familiar with her work that Drndić’s latest does both. What I hadn’t expected, though, was the ways in which Belladonna would speak to me, and all of us, as Americans—warning us, precisely encapsulating for us the ugly truth of the political moment in which we are struggling...
Reviewed by Tyler Langendorfer
Despite never having been translated into Icelandic, Tristram Shandy’s radical recalibration of storytelling’s fundamentals—in particular, style, structure, and the criteria for relevant content—laid the groundwork for many other texts that would come to influence Guðbergur Bergsson’s modernist work Tómas Jónsson, Bestseller. Now, half a century after its original publication in Iceland, this magisterial work been translated into English by Lytton Smith. In this “memoir,” a popular genre in Iceland at the time it was written, Tómas, a resentful, senile, self-absorbed retired bank clerk, elaborates on the minutiae of his life spanning World War II through the year of the novel’s publication in 1967. Through Tómas’s numbered composition books, we are privy to his anal-retentive habits, and idiosyncratic thought processes whose landing points include the intricacies of chamber-pot usage, the inherent amorality of money, and the invention of the ballpoint pen. Non-linear and largely absent of temporal markers, Tómas Jónsson, Bestseller is a unruly, borderless flow of life episodes and digressions, the latter in the form of folkloric tales, theater acts, dreams and a mini-essay. Yet as much as Tómas feigns to be in complete control of this text supposed to be his autobiography, it is the co-habitants of his world who come to define him. He suggests as much at one point, through a statement in line with the Hegelian view of human relations: “Does man, as an individual, only exist to the extent that he is a context for other people?” Bergsson, who would also garner recognition as a children’s book author and translator from Spanish (most notably of García Márquez and Cervantes), cemented his legacy with this genre-defying novel. Although a controversial figure over the years for his outspoken opinions on Icelandic culture, he is now widely revered by many of his compatriots, such as the writer Sjón, who referred to him as the “grand old man of Icelandic literature”; among his cohort, only Halldór Laxness, the country’s sole winner of the Nobel Prize in Literature, outranks him in literary stature...
Reviewed by Lauren Goldenberg
“I will never cease to be a Jew, of course,” the narrator of Mihail Sebastian’s For Two Thousand Years declares. “That is not a position I can resign from. You are or you’re not. It’s not a matter either of pride or shame.” The speaker of these words is unnamed, but is so closely modeled on the author that the novel itself is nearly autobiographical. In some ways it feels more like a historical document: it was published in Romania in 1934, and has only now been translated into English by Philip O Ceallaigh, a famous Irish writer and translator. For Two Thousand Years begins in December 1923, when a new constitution making Jews Romanian citizens takes effect and recounts, from the narrator’s perspective, the experience of being a Jew in Romania between the two world wars. The narrator, a law student, is trying to focus on his intellectual endeavors while suffering regular anti-Semitic attacks and beatings, which have increased in reaction to the new law: “I received two punches during today’s lectures and I took eight pages of notes. Good value, for two punches.” He chronicles that year in a notebook that he eventually loses but refers back to throughout the novel. This notebook is the novel’s heart, and through it we witness how he suffers this violence with discretion and dignity, how he tries to make sense of his being a Jew, and how he remains mostly a silent witness to debates among his friends and acquaintances on Communism and Zionism, all while he tries to forge his own space of freedom to think...
Reviewed by Meghan Forbes
The Bauhaus school—founded in Weimar, Germany in 1919 by the architect Walter Gropius, relocated to its own campus in Dessau in 1925, and shuttered in Berlin in 1933, the year Hitler became Chancellor of the Third Reich—is both one of the great failed utopic visions and one of the most enduring successes of the twentieth century. Its lasting influence in architecture and design can be seen everywhere from the IKEA catalogue to Google's logo. Yet the school remained in operation precisely as long as that brief breath of optimism between the two world wars, when artists dared to imagine a post-war ideal of rationally applying new technologies not towards the obliteration of society, but rather its betterment. Gropius emphasizes in the first Bauhaus manifesto an underlying aim “to bring together all creative effort into one whole, to reunify all the disciplines of practical art […] as inseparable components of a new architecture.” A Doll for Throwing, the most recent collection of poems by Mary Jo Bang (her eighth in total, and fourth with Graywolf Press) opens with a poem—“A Model of a Machine”—that captures elegantly the Bauhaus ideal, which Gropius had described in its founding manifesto as being “to bring together all creative effort into one whole, to reunify all the disciplines of practical art […] as inseparable components of a new architecture” . . .
Reviewed by Tristan Foster
We often create a literal buffer between us and our fears in the shape of a mask; those masks can be seen on soldiers in war, in the form of makeup for a job interview, or as surgical masks worn by theatre surgeons and peak-hour commuters alike. Throughout history, civilizations of all stripes have known well the uses of the mask—our museums are full of fine examples; Ancient Greek theatre, too, used masks to clearly express gender, emotion, character, and class. But in one way or another, they all function like a snail shell: both as protection, and, paradoxically, as indication of the fragility it shields.
This strange dichotomy explicitly undergirds the various short stories in the French writer Marcel Schwob’s The King in the Golden Mask. The author prefaces his collection with an oblique explanation of his intentions; he proffers up his imagining of what a visitor from another world might observe of our own. This visitor possesses both “the blinkered view of the artist and the generalization of the scientist,” each of which serve to frame this visitor’s perspective upon our habits and customs. “Know that all in this world is signs,” he concludes as a way of signposting the collection’s overarching theme, “and signs of signs"...
Reviewed by Paul Kilbey
Colonialism is a numinous presence hanging over Die Stücke der Windrose. It is as if conquistadors have seized all the natives’ compasses and twisted them out of shape. That the cycle began with “East” is no coincidence: it is perhaps the most straightforwardly ironic number. This catalog of orientalisms takes in jaunty Turkish bells, sinuous augmented seconds, klezmer-style clarinet solos and a vampy Hungarian dance, and while these disparate elements are arranged with skill, “East” is a composition cut through with a deliberate sense of randomness that exposes the Western vision of the East for the tacky knock-off that it is. . . .
Reviewed by Sho Spaeth
Inheritance comes in many forms, not all of them easy entries in a grim tally of money in or money out. For the death of a parent, the stakes are even higher. In the days and months before they die, in the weeks and years after they are no longer alive, the child will weigh on a different scale the benefits they have been bequeathed by birth—ethics, aptitudes, relative station in society—against the defects that have come to them by blood—congenital illness, self-destructive tendencies, a feckless family. Grief masks what some kin feel as survivor’s guilt, even as they sense a lingering, atavistic dread that some sins, too, are hereditary.
The bleakness of this perspective is undeniable in the first chapter of Minae Mizumura’s Inheritance from Mother, translated from the Japanese by Juliet Winters Carpenter. The protagonist, Mitsuki, considers what she has been left with on the night of her mother’s death. There is the relatively meager amount of money she and her sister will split; there is the simple fact that they are both middle-aged women in an aging nation in decline; there is the romantic, grasping desire to want a beautiful life, a predilection that Mitsuki likens to a congenital defect, passed along from one generation of her family to the next; finally, there are the ruins of her own personal and professional circumstances, left unattended as she has been obliged to take care of her mother. And so the novel begins with a character who has long thought her mother’s death would mark a release, and instead finds herself mired in the messy reality of living, suffering under constraints of a different kind...
Reviewed by Christopher Fletcher
I read João Gilberto Noll’s two novels The Quiet Creature on the Corner and Atlantic Hotel in swift succession on a rainy afternoon, a reading punctuated with the heavy sound of the light rail moving alongside. I finished one and immediately started the other, reading until it was time to move on. For weeks after, I rued that marathon reading session as I tried to disentangle the plots in my mind. Atlantic Hotel featured a narrator nearing middle-age trundling from room to room in search of himself. Quiet Creature featured a young narrator being bundled from place to place as he waits to come into his own. Or was it the other way around?
Reviewed by Henry Zhang
To read the translator’s note for Juan Rulfo’s The Golden Cockerel and Other Stories is, in a sense, to witness border politics in action. The translator, Douglas J Weatherford, says: “A desire to capture both the universal and the regional qualities of The Golden Cockerel is at the heart of my decision to retain a modest selection of words and phrases in their original Spanish. A few of those are simply left untranslated and in regular type (e.g., pesos, tequila, cerveza, amigo), an indication that these are labels that are commonly known to English speakers in the US. Other expressions that are left untranslated are italicized to indicate their less common nature (e.g. mezcal, politico, rebozo). These are words and phrases that have a significant cultural component, are problematic in translation, or add a local flavor.” It is implied that everything else might be rendered in English without much violence. But to see these three types of words—italicized, unitalicized but markedly Mexican, and, might we say, naturalized?—is to witness different stages in a process of cultural assimilation...
Reviewed by Daniel Fraser
In Nights as Day, Days as Night, translated by Richard Sieburth, Michel Leiris presents the reader with a series of dream records, along with a few scenes from his waking life, set down between 1923 and 1960. Some of the dreams last for only a few sentences; others extend over several pages, and each of them is almost entirely self-contained. Many sparkle with wit and an amusing flippancy while others sink into horror and are truly unsettling. There are sexual fantasies, physical transformations, compressed temporalities, and sunken spaces. All are narrated through the veil of wakefulness. Their elements bubble up to the surface of consciousness and then disappear. But Nights as Day, Days as Night is not merely a dream journal. Leiris, as Sieburth reminds us from the outset, “preferred to classify these hundred and so Nights . . . among his poetry” rather than part of his great autobiographical project, and it is as poems that they might be most fruitfully read, prose-poems whose subject is the act of dreaming itself . . .
Review by Tim Rutherford-Johnson
Works for cello have often appeared at important junctures in Barrett’s output. Ne songe plus à fuir was one of his earliest experiments in composing with the essential structural features of the instrument (and the player’s interactions with it), as a way of representing the instrument’s essential character without the accumulated baggage of its performance practice and historical repertory. In this case, this meant reconsidering the cello as a “resonant box with four strings,” to borrow the title of that first conversation between Barrett and Deforce. Further to this, the cellist is thought of in terms of two hands, one holding a bow and both able to move in three dimensions. A large part of the compositional work after this is occupied with exploring the possibilities opened up by this “radically idiomatic” reinvention of the instrument.