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    Or that seems to be Borders’ solution to its constant financial problems, at least for the time being until the next quarter with lower than expected sales.  Really, the problem with Borders is that it lost its identity about eight or so years ago when it decided to become a shadow of Barnes & Noble.   [...] […]
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  • Reflections on Rockwell September 3, 2010
    In recent years, fans of Norman Rockwell, with the assistance of some art historians, have attempted to lift him into the canon of high art. As a fan of midcentury American illustration, I don’t really care how he is assessed on that scale: like the recurring fantasy that underlies so much of our politics of [...] […]
    Levi Stahl
  • A Taste of Cherry in a Heat Wave September 3, 2010
    I’ve been thinking a lot about heat waves. The thick summer weather has felt like a wall of fire that must be bravely pushed through to order to exit from an air conditioned office building and make my way to the corner to board a bus crowded with sweaty citizens. So perhaps it’s no surprise that [...] […]
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  • The Ballad of David Markson September 3, 2010
    "What’s not so up for dispute is that Markson accomplished what, by all rights, should be a literary impossibility." (Colin Marshall for The Millions) […]
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  • Gass-X September 3, 2010
    "Ich liebe dich. No sentence pronounced by a judge could be more threatening. It means that you are about to receive a gift you may not want." Via Dylan Suher, Greg Gerke's sort-of review of William H. Gass's Reading Rilke in BIG OTHER. […]
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Group Reads

Last Samurai

Fall Read: The Last Samurai by Helen DeWitt

Starting Sept 19, read one of the '00s most-lauded postmodern novels. Info here. Buy the book here and support this site.

Tale of Genji

The Summer of Genji

Two great online lit magazines team up to read a mammoth court drama, the world's first novel.

Your Face Tomorrow

Your Face This Spring

A 3-month read of Javier Marias' mammoth book Your Face Tomorrow

  • In Homer’s Head: Ransom by David Malouf
    In Ransom, Malouf satisfyingly gives us a meeting between Priam and Achilles that builds from the interiority of Priam. The novel seems to want to teach the importance of doing something human to those who might never get around to picking up Homer or who, if they do, might wish they could get into the character's heads. […]
  • How Jeanette Winterson Makes Fiction
    Winterson has always told and retold the same fictions: of parents and children; of origins, and adoptions; of differences, of margins; of love; of passion; she has always manipulated rhythm and language as an excavation of sources. Much of her fiction mirrors what we know of Winterson's own story, but she agitates against the idea that her work has to […]
  • Inveterate and Unrepentant Book Collecting: A Guide to My Favorite Contact Sport
    It's difficult to pin down exactly why books as objects mean so much to me. I wasn't alive when William Goyen's excellent Come, The Restorer was published, but owning an original printing with the dust jacket—as it would have been purchased at the time of its release—makes the book more special to me than some beat-up paperback rei […]
  • The Master of the Not Quite: The Broken Estate: Essays on Literature and Belief by James Wood
    Wood can be harsh, yes, but he is seldom unfair. Wyatt Mason was wrong to accuse him of having suggested, by dint of a string of negative reviews, that no good contemporary literature exists. (He has written favorably of McEwan, Bolaño, Robinson, Ozick, Kirsch, Sebald, Roth, Saramago, Swift, Carey.) He never simply dismisses a writer (in the manor of, s […]

Friday Catalogs: Archipelago Books

Friday Catalogs: Archipelago Books

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Just when Francois Monti’s piece on Eric Chevillard has got me wondering about contemporary French literature, I see that Archipelago Press is publishing Small Lives by Pierre Michon (April, trans. Jody Gladding and Elizabeth DeShays). The catalog describes it as:

In Small Lives, Michon explores the act of writing through the intimate portraits of eight interconnected characters. In this evocative poetic narrative, the quest to breathe life into the stories of these individuals becomes an exploration of the author’s own voice.

I’m curious about what seems like a metafictional twist to these stories, and also, so far as "poetic narratives" go, the French seem to do them well.

One cannot help but be intrigued by Hyperion (April, Friedrich Hölderlin, trans. Ross Benjamin), a 200-year-old epistolary novel by a German Romantic about a Greek hermit and a German friend that won the approval of Nietzsche and Walter Benjamin.

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I wonder if the translator too liberties with the title of Plants Don’t Drink Coffee (August, Unai Elorriaga, trans. Amaia Gabantxo). Either way, it’s a great title, and it’s gotten me interested in the Basque tale of four crisscrossing lives. So does El Mundo’s gloss on Elorriaga—"Elorriaga seeks to explain reality outside conventional lines, he doesn’t avoid it"—which has me thinking of Witch Grass by Queneau.

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I’m not entirely sure about Mafeking Road (May 2008, Herman Charles Bosman). On the one hand, it would be good to read a voice out of South Africa besides Coetzee and Gordimer, but on the other hand, it’s difficult to get a read of this book from the catalog copy.

Likewise with A Mind at Peace (July, Ahmet Hamdi Tanpinar, trans. Erdag Goknar). This novel about the Westernizing Turkey of the 1920s and ’30s sounds interesting, but I don’t know enough about what kind of writer Tanpinar is to be sure.

One last note. Though it’s a bit early to mention it, Archipelago will be publishing Halldór Laxness’s first novel, The Great Weaver from Kashmir in October.

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