Any book that has a ringing endorsement on its cover from Elena Ferrante these days will merit a second look. But there is another, potentially more important endorsement of Neapolitan Chronicles—a silent endorsement on the part of the translators of this Italian story collection by Anna Maria Ortese, originally published in Italy in 1953.
Dear June,
I am a reserved and, I am afraid, timid woman. Despite having grown up in an enlightened family and then gone to a college where people would have been very supportive, I did not come out to anybody as bisexual until I was 23, when I had my first experience, with the woman who is now my girlfriend. My finally coming out hasn’t created any real problems with anybody I’m close to, with one exception—who, unfortunately, is (or was) my best friend “Gaby.” She’s straight, so I never thought this could possibly be an issue, but it really seems to bother her that I’ve never had any romantic or sexual interest in her!
The classic coming-of-age novel tells the story of a young boy coming to terms with the man he is about to become. Over 175 years ago, the great French literary seer Honoré de Balzac composed a rather untraditional version: in his novel, The Memoirs of Two Young Wives, Balzac applies the traditional arc of the bildungsroman to two female protagonists in order to present two ways of life—the passionate life and the tranquil life. In doing so, Balzac reminds readers of the elusive nature of happiness, regardless of one’s way of life, and what it means to love and be loved.
If you love fantasy and science fiction films and television programs, chances are you’re familiar with the work of David J. Peterson, the masterful conlanger, inventor of languages. While best known for inventing the Dothraki and Vayyrian languages for HBO’s massively popular Game of Thrones, the University of California San Diego graduate has created more than forty languages in his film and television career.You can find Peterson’s original languages in such Marvel Studios films as Thor: The Dark World and Doctor Strange, as well as over half-a-dozen television shows, including the critically acclaimed Penny Dreadful.
Anna Lea Jancewicz built up her editorial chops on magical flash fiction and fairytale non-fiction journals, like Cease, Cows and Tiny Donkey, before becoming Editor-in-Chief of Rabble Lit, a magazine dedicated to working-class literature. Some might consider this a strange artistic road, but it makes sense. Using the magic in the everyday to challenge and undermine the power of oppressors, magical realism emerges from anti-colonialism and protest. Similarly, the classic fairytale often elevates working-class heroines like Cindergirl and Vasilisa. Jancewicz’s debut collection builds on these traditions of artistic protest, offering a mix of flash and short stories steeped in both the brutal realities and dreamy magic of women’s lives. The combination of flash and short stories serves to create a heady ebb and flow throughout the collection, almost like a heartbeat ba-boom, ba-boom, a place where prayers, stories, and spells live side-by-side.
There are two things I do nearly every day without fail: write and run. I like to talk and think about them together because, to me, they are twin feats of both discipline and imagination. Growing up a competitive runner, never very good compared to the other people I competed against, I learned to value the sport as a way to keep me both grounded and honest. Your body has a way of letting you know how well you’ve treated it. Or how poorly. Lining up for an ultramarathon, I view the months of training prior as a succession of drafts. Practice gives me an idea of what to expect out of a race, but I like to leave room for surprise because the body, like a poem, holds more wonder than we can grasp. One of the reasons I race these long races is less because of some feeling of accomplishment that comes with finishing, but more for the strange and wondrous moments of mental and bodily access that arrive without any warning.
Sometimes we read fiction to escape, to experience the art of writing, or to lose ourselves in plot. Non-fiction is often imagined the territory of learning, absorbing direct information on a topic. We often forget that fiction still has this power, to take you somewhere real you’ve never been, to introduce you to people you might not have otherwise met. Fiction can convey social realities and erode the “otherness” of others. Sometimes even when we set out to read to escape, to read for fun, we are confronted with truths about our world. But of course, true art about the human experience never eludes the social and the political.
Ros Schwartz has been a literary translator for 36 years and has been an active participant in the evolution of the profession. She has translated over 70 books from French to English by writers as diverse as Moroccan author Tahar Ben Jelloun and French crime writer Dominique Manotti, as well as Antoine de Saint-Exupéry’s The Little Prince. She has presided as vice-chair of the Translators Association, as chair of the European Council of Literary Translators Association and as chair of English PEN’s Writers in Translation program. Most recently Schwartz translated Translation as Transhumance, which was reviewed by Cleaver.
In this interview, Ros Schwartz discusses the process of translating a book about translation, including her work with Gansel, her theory of translation, and translation as activism.
Dear June, “Jack” and I have been dating for over two years now. We’re planning to move in together when my lease runs out in June, and are starting to talk in very general terms about settling in for the…
Scott Edward AndersonPOETRY AS PRACTICE: How Paying Attention Helps Us Improve Our Writing in the Age of Distraction In this lyrical essay on the writing life, Scott Edward Anderson shows how poetry can be more than a formal approach to…
He put his book down and looked at me over the top of his glasses. "I never said that, Billy."
"Said what, Anton?"
"Don't tell me the moon is shining. Show me the glint of light on broken glass."
"Oh, that. Yeah, someone turned what you actually said into a show-don't-tell rule. On behalf of all the writers who should know better, I apologize. If they'd read your stories, they'd notice how skillfully you balanced showing and telling."
I recently finished a memoir manuscript about my bipolar mother and her eventual suicide.
Light, easy writing, right? When I tell strangers about my manuscript, they cock their heads in sympathy as if to say, “You poor thing. ” Some even suggest I've misconstrued the events in my own life. Surely your mother wasn’t really mentally ill. You must have it all wrong. Others lean in as if they are about to hear a juicy story. But the majority recoil: Mothers. Daughters. Mental illness. Who would touch such a topic?
When will we stop imaging climate change in the future and how can we reorient ourselves to this reality? Adrian Parr’s new academic work on climate change, Birth of a New Earth, attempts to answer this question by tapping into the recent trend of considering the positive, some might even say utopian, possibilities that the crisis of climate change allows. She argues, “Regardless of environmental harms and changes in climate impacting people differently, there remains a shared human experience of hardship that will intensify as time passes. For this reason, the environmental and climate crises contain the political potential to radically change social life so it evolves into a more equitable, inclusive, collaborative, and voluntary social system.”
Compulsory diversity reads like a checklist: one character of color, one queer character, one character with a disability. Ta-da, instant diversity, just add water and stir. Predictably, this shallow formula reads pretty false. Black characters written by black authors are always going to be more real. Bookish people on twitter have been talking about this for a couple of years now and a phrase that I've seen pop-up a couple of times is “stay in your lane.” I love this analogy. We're all readers and writers on the same highway. We all want to do good art that reflects the world around us. We should be aware of all the cars on the road. We shouldn't merge just because that's where all the traffic seems to be going: changes to our destination can be dangerous. Your writing and your perspectives are important.
Time of Gratitude is an unusual text: the collected pieces are both prose and poetry, some of them written for events and some written as personal reflection. Translator Peter France has organized the book into two sections. The first one is devoted to Russian and Chuvash writers and artists, including Boris Pasternak, Kazimir Malevich, Varlam Shalamov, and Chuvash poet Mikhail Sespel.
Curtains checked for anthrax, podium erected.
The balloons will fall to the floor if elected.
The ass-groper, interloper, and false hoper
Will find themselves shoved out the door if elected.
Over the past year I lost a great deal of weight and am much healthier and happier. I also look good, if I do say so myself. I worked hard and I am proud of my accomplishment. But I am not so happy when this coworker of mine, whom I will call “Jefferson” although she is actually named after another president, keeps telling me that she is proud of me.
For Mireille Gansel, the work of translation is an all-consuming task. Before embarking on a project, Gansel first immerses herself in the world of the poet she is translating. She studies the historical context of their writing as well as the personal context. Wherever possible, she engages with their physical environment: she visits their home, observes their writing space. And, ideally, she listens to the poet read their work aloud. Attempting to translate a single German word, “sensible,” in a poem by Reiner Kunze, Gansel travels from West to East Germany to “[listen] to the poet read, alert to his intonations and facial expressions. In the tiny blue kitchen, I was conscious of his precarious everyday life.” She imagines the letters from friends in exile that he’ll never receive, and the mingling of his two languages, a German abstracted by Nazism and a Czech repressed by war, both of which survive in the poetry of his contemporaries, in songs from his childhood. Here, in this intersection of past and present, Gansel finds the word for “sensible”: fragile.
Do Roy and Celestial have an ordinary American marriage? The title of Tayari Jones’ fourth novel implies that perhaps they do in fact have a quintessential American life, and in many ways they do…
He doesn't notice the desert.
The smell of the dead rising, birds or fish, saltwater
feeding on air or salt air on the water, the sand
turning black as it wraps his ankles like a skeleton hand.
He doesn't know why the horseshoe crab shells
Above all else, Mirror, Shoulder, Signal is a novelist’s novel. Literary-minded readers will revel in the novel’s allegorical framework extending anywhere from cautionary tale to failed bildungsroman to a metaphor of novel reading itself.
Situated between a national and a personal history, Kiki Petrosino’s poetry book Black Genealogy sifts through the past in search of lost identity, language, bodies, and self-possession amidst the legacy of the Civil War and slavery in America. The book details an exploration of both a familial and a larger American reality through the lens of a contemporary African American persona.
For the uninitiated, if it's even possible there exist humans unaware of Flowers in the Attic, the series concerns a family called Dollanganger (in hindsight, perhaps a sly play on doppelganger?) who, for reasons I can't and don't even care to remember, end up living with the mother's parents in a big old Gothic mansion in Virginia, where the mother agrees to lock her four children away in an attic for an unspecified stretch of time. (Spoiler alert: it turns out to be years.)
For those of us still traumatized by the 2016 Presidential election, the debut novel Her Body and Other Parties, by Carmen Maria Machado, is the emotional and intellectual release for which we have been waiting. It is electric with the #Resist spirit. It underscores the importance of the #MeToo movement. And, it tackles issues such as gender, language, and human interaction through a fresh, folkloric perspective. Winner of the Bard Fiction Prize and finalist for the National Book Award for Fiction, the Kirkus Prize, and the National Book Critics Circle’s John Leonard Prize, this collection of ten short stories is timeless, yet also a necessary way to transition from 2017 to 2018.
the first day I met my editor,
When Hans Herbert Grimm’s semi-autobiographical novel Schlump was published in 1928 alongside All Quiet on the Western Front, it was advertised as a “truthful depiction” of World War I. It is no surprise that Grimm took on the the pseudonym Schlump, just as his protagonist does, to hide his identity. As explained by Volker Weidermann in the afterward, Grimm “describe[s] the German soldiers of the Great War as less than heroic,” and “the entire war as a cruel, bad joke.” While this caused the Nazis to burn his book in 1933, today it gives the text, translated by Jamie Bulloch, a feeling of authenticity.
My friend BR gives me the manuscript of his novel because he wants to know what I think. I read it and we make plans to meet in a café to talk. The novel is mediocre, like almost everything BR writes. I give him my critique, which essentially rests on one problem: he tries to maintain too much control. As if he were afraid that the story he’s telling wasn't enough for a novel, he stretches out his descriptions and rambles on.
Moira’s son is snuggling against his grandfather on the couch. That’s all. Just resting on the old man’s shoulder, his forehead against his frayed collar. Michael looks tired, sweaty. There’s color high in his cheeks, as if he’s just come in from play. The sliding glass door is slightly open, and She can hear her father singing to him, something low, soft, painfully familiar. His knee moves up and down in steady cadence with the song. Eyes closed, they seem lost in each other’s comfort. She tries to swallow, but it tastes like acid, so she spits into the grass.
Matthew CourtneyLIVING AS ART: Ceramic Works [click on images to enlarge] To be in the presence of Matt Courtney’s ceramic art is to be embraced by a feeling at once familiar and unanticipated — a sensation that comes not only…
I wear my love for foxgloves
on my digits, nibble on each
to slow the fibrillations.
Oh, it will never happen here, the nurse says. If she is concerned, she is too nice to show it.
Everyone is so nice here. The nurses, the lawyer who helps us with the paperwork, the people from the refugee center who bring us clothes; even the doctor, the surgeon who amputated all of our fingers, except for one of my thumbs, is a really nice man.
I suppose I should tell you that I didn’t buy the apartment. Randi the realtor called (remember her, with the forehead?) and said the owners were still undecided, but I had visited by myself the week before, and it didn’t feel right anymore. I guess it was too big for just me and Pammy. Too many rooms, too many spiderwebby corners. They ended up selling it to that Polish couple, I think. For now, I’m living with my dad, who says
Dritan wondered whether he made the right decision in telling them to go ahead, so sure that he would catch up. Had he been sure though? He began to feel the numbness set in his hands, in his wrists, in his shoulders and back, though it wasn’t long before he felt his muscles begin to burn and cramp, giving him no choice but to stop kicking. His ears filled with the sounds of the others splashing onwards, though now the splashing came from all around him as the tides and waves had pulled them all apart.
It’s moonlit and muggy out as Peety Alfaro walks to work. Under the yellow streetlights, he pauses to wipe the condensation off his glasses. Once done, he affixes his large and thick lenses back onto his face and takes a deep breath. Exhaling, he tugs rapidly at his white tee to cool off. Then he nods hard and continues walking, shoulders back and head up.
Daddy’s Pet
fucking chrissakes
Slewfoot conglomerates
banging eachother
Brock Road
puddle son of a bitch
Mongrel Palmer
light the east
In the ground, the real
never of a boy
How a couple recovers
I do not know
Whose heart
Agony of mother, father
Maria unimaginable
Two weeks from his due
We gave ourselves matching haircuts
but only temple rye cures. Temper
your dog but only scaremongering
ignites crows. Shared the phobia collar
but only in shifts. See but only gavels.
An iris’ pillory but only a shaker of gifts.
But only our handsome freckles
divvied among avenue skin.
On the Mason jar she pasted a product label so as not to create any bubbles beneath it. The jar was made of extra-thick brown glass that distorted vision like coke-bottom spectacles. The label thus enabled the public to quickly pick the one they wanted. She was proud of her job. She put back the jar on the conveyor belt.
“But Martin was born in Lancashire,” I said to the man seated across from me the afternoon of the arrest.
The man, whose black hair was slicked neatly back, offered me a cigarette.
I declined. “Martin’s not German, much less a German spy.”
The man placed a cigarette between his lips and lit it with the flick of a silver lighter. He inhaled deeply and then exhaled, the smoke blue-grey in the dimly-lit room.
“Mrs. Ridley,” he said. “We have ample evidence of your husband’s activities in support of the Third Reich.”
“That’s ludicrous!”
“Madam, I assure you, everything is in order.”
Sunlight sealed behind
cirrus behemoths, I am
deep in left field. Suited
up in stripes, I wait for
something to come my
way. One cloud becomes
a prickly pear. I'm grateful
for my hat. Leafless trees
Emily Steinberg, with an introduction by Tahneer OksmanBERLIN STORY: Time, Memory, Place Like fresh snow covering over a messy urban landscape, there’s a kind of concealing but also unifying quality to the fourteen central images of Emily Steinberg’s “Berlin Story.”…
don’t know what was wrong
with the person who did this,
but I met my wife when this
was a drugstore, years before
the chaos you see here. Harney’s
Nissan, going a hundred, slammed
a Mazda; pieces of cars
flew into the windows of Town
Hardware, slid and banged three
On the eve .....of never forgetting.....I still
want to run away.....from you together..... or
not run..... but bite or register..... bionic judgment
always there..... to be crushed by..... unblinking
jacked..... and futuristic..... Some trees are easier
to climb than others..... Ailanthus for example
with a ladder leaned up against it..... or a poplar
Adonis was a painting. Or rather, he was a boy, but his limbs and lips looked as though they were made of artistry and creamy filaments of paint. It is no wonder, then, that Venus loved him. She kept him pillowed in her lap, far from the wars and deaths of heroes, and whispered him stories, her warm breath travelling across his lips. On days she was forced to leave him, Adonis made love to the forest instead, exploring it slowly, deliberately. On one of these days of absences and longing, a wild boar came across Adonis and gutted the canvas of his torso from stomach to collarbone. When Venus returned and found his broken body, she discovered the shape of heartbreak. Distraught, she made the spray of his blood bubble into hard teardrop seeds. And so, nourished by the blood of the most beautiful man to have ever been loved, the pomegranate blossomed into existence.
If I could be anywhere
in the Fall
it would be Korea
walking rubberized pavement
to the top of Namsan Tower
surprised by snow in October
He taught me how to bend their arms
so they stayed. To solder them
solid with lead and resin, perfect
alchemical drops. Each striped
in mathematical candy—purple
for seven, green for five—it took
a simple decoder. But how
to speak to me, his daughter
striped in a thrift-store skirt
We prayed this way until sunset, when finally all of the bodies had been brought up high on the shore. We took the water-seeped wood, as we were used to do, and carried it to Branches’ Farm, where all wet wood went to dry. Then we carried back with them to shore piles and piles of dried wood. This went on right through supper—for no one ever ate until this task was done. There on the sand our men lay the wood from old shipwrecks and piled the bodies to make the pyre. As the flames reached high, our women closed their scarves around their bodies and made their way back to their homes to start the very late supper. Father Joe took this time to look out over us while enjoying his dinner of salt bread and water. We would sometimes look up to see his candle in the window momentarily lighting up his shadowy face and take comfort.
When coarse human events become necessary,
people dissolve, a gloom powers profit, the claws
of paper and paper’s God hold sleuths to be prevalent,
that all men are prequel, and cowed by certain
alien fights. Knife liberty and hirsute happiness
secure fleece rights. Governments are prostituted,
driving their powers and the discontent of the governed.
Any storm of cover meant these end: flight
of the steeple, falter and a polish to parachute
a true glove ornament. Lay its foundation on
such prince piles: organs, eyes—sing its powers.
Such a storm shall seem to effect their safety.
“Women shouldn’t drive,” my chauffeur tells me.
Ollie DupuyBEAUTY IN ELEVEN ENCOUNTERS i could blame it on the culture of america, korea, science, but i boil it down to being the first korean word i learned, yeppuda yeppuda rolling off the tongues of halmonis and imos and…