Category Archives: jakov lind

The Jakov Lind Renaissance


Starting last March–and continuing through January of next year–readers will receive no less than three new translations of books from the major Austro-Hungarian modernist writer Jakov Lind.

I'm definitely excited, and not just because Lind wrote a story about "a mad cannibal and his prospective victim-meal" trapped together in a train compartment. In our newest article at TQC, Jeff Waxman runs down the three new Lind translations:

Lind is not only a major post-Holocaust writer; he is also a modernist of extraordinary talent and vision. His writing shows an intriguing, Beckettian dissolution of reason, and it owes a clear debt to the absurdists, whose themes of obsession and the perversion of reality closely resemble Lind’s work. Born in Vienna a decade before the Anschluss, Lind also owes something also to the Austro-Jewish literary tradition exemplified by Stefan Zweig—there’s a humanist regard that colors his work and tinges his cynicism with a smirking regret. This sort of weeping giddiness characterizes all of Lind’s writing, from his excellent dramatic efforts like The Silver Foxes Are Dead to his short stories and his extraordinary dark novels.

For the record, the three books are:

  • Landscape in Concrete (trans. Ralph Manheim). Open Letter. $12.95. 190 pp. (March 2009)
  • Soul of Wood, (trans. Ralph Manheim). NYRB Classics. $14.95. 208 pp. (November 2009)
  • Ergo, (trans. Ralph Manheim). Open Letter. $13.95. 150 pp. (January 2010)


The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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