Adam Z. Levy covers Hilda Hilst at Music & Literature. Definitely one of the more interesting discoveries of the past year or so. The most recent one to be translated is With My Dog-Eyes, publishing later this month from Melville House.
By the time of her death, in 2004, Hilda Hilst had garnered fame for the whole of her oeuvre—including Brazil’s most prestigious literary prizes—and notoriety for the filthiness of her final books. Her body of work, which includes poetry, plays, and prose, is as wide-ranging as it is defiantly avant-garde, yet, despite the accolades, her . . . continue reading, and add your comments
There seems to be a tiny bit of confusion so here’s the deal:
1. Archipelago is doing the hardcovers, FSG is doing the paperbacks.
2. However, Archipelago started publishing Knausgaard before this agreement was made, so they actually did a paperback of Book 1, which has since been discontinued.
3. Yes, the FSG covers are ugly as fuck. True fact: I’ve never met anyone who liked them. In fact, I’ve never met anyone who didn’t violently hate them. If anyone can explain them to us, please enlighten us. (Apologies to the designer, whom I’m sure is . . . continue reading, and add your comments
Yep, we’re getting there, and fast.
I kinda had the idea that with Book 3 we’d hit peak Knausgaard. Looks to be the case.
Will be interesting to see if the press stays on board for Book 4. At this point I doubt it. And if you want to be one of the glorious bandwagoneers, get your damn copy from Archipelago. I love FSG and all, but Archipelago deserves (and needs) your money more.
Also a reminder, interview with Knausgaard in Tin House 60, coming out in about a month-and-a-half.
By now the response in that room has become widespread. Speak . . . continue reading, and add your comments
All sorts of fascinating tidbits in Alex Estes’s profile of Jill Schoolman:
The financial realities for a literary indie press:
In 2003, after three years at Seven Stories Press, Schoolman set out on her own to found Archipelago Books. She decided then to set it up as a nonprofit company. As Archipelago completes its first decade in existence, regarding that decision, she has no regrets. The business model works. In the beginning, book sales made up a third of the company’s income, the other two thirds coming from donations, fundraising events, and support from various foundations (National . . . continue reading, and add your comments
One of the very few contemporary English-language writers I’d consider a must-read. The Buried Giant in March 2015:
The Buried Giant was described by Faber as “sometimes savage [and] often intensely moving”. The publisher would only reveal that the book, Ishiguro’s seventh novel, will be about “lost memories, love, revenge and war”. Stephen Page, chief executive, said that the book was “a truly sublime new chapter in one of the most significant bodies of work of anyone writing today”.
“It is as surprising, moving and brilliant as you could hope for, and we can’t wait to publish,” . . . continue reading, and add your comments
Yes, clearly the path forward for publishing is to emulate the Hollywood blockbuster model more than ever by trying to merchandise the fuck out of your “properties.” Because we all know that reading and publishing are about getting the little ‘uns hooked on a suite of brand identites that can be monitized across a range of complementary products and platforms well into young adulthood.
Tom Weldon isn’t bullish on publishing. He’s bullish on conglomerated, globalized retailing in which the key piece of intellectual property just happens to come from someone who wrote a book.
But it also . . . continue reading, and add your comments
Eurozine has what looks to be a post-My Struggle essay by Karl Ove Knausgaard. Despite declaring My Struggle to be his end as an author, he published a book of essays after it and looks to still be writing . . .
The job of literary editor is practised under a kind of shadow cast by the author’s name. Though some editors have emerged from the sidelines, they tend to be thought of as notorious rather than famous because “editor” and “famous” are somehow inherently incompatible concepts – a contradiction in terms. Gordon Lish is a case . . . continue reading, and add your comments
Pretty good piece on Island Boyhood, the third volume of My Struggle, and it doesn’t even mention Proust!
Knausgaard fits those descriptions, but not gleefully. He isn’t a wilful, tickled badboy like Michel Houellebecq. Though his willingness to alienate friends and relatives suggests, as he admits, a certain degree of dissociation, Knausgaard is not a slave to his own damage in the way Houellebecq is. In Houellebecq’s work, damage is only the motor; in Knausgaard’s, it is a subject. My Struggle is an example of what you might call New Man existentialism, whereby male anomie and . . . continue reading, and add your comments
Surprisingly, The New York Times is lukewarm on Lydia Davis’ latest collection, Can’t and Won’t. I agree.