Thursday, April 14, 2022

Maaza Mengiste: ‘The language of war is always masculine’

 

Maaza Mengiste: ‘We’ve become a very visual society.
How many photographs can we take?’


Interview

Maaza Mengiste: ‘The language of war is always masculine’


The Ethiopian-born novelist on her book about the female fightback against Mussolini’s invasion of her homeland, why Instagram blurs the vision, and the lure of Moby-Dick

Alex Preston
Saturday 18 January 2020

Maaza Mengiste’s second novel, The Shadow King, is a reimagination of Italy’s invasion of Ethiopia. Told from a range of perspectives, it focuses on the experience of the Ethiopian women who played a vital role in winning the war, as well as that of the Italian soldiers and the exiled king, Haile Selassie. Mengiste was born in Ethiopia in 1974, but her family fled the Ethiopian revolution when she was a child (a history she explored in her first novel, Beneath the Lion’s Gaze). She lives in New York and spoke to us from Zanzibar.

Lee Child on Jack Reacher / 'I don't like him that much'

 

Lee Child: ‘The best thing to do is not to get too close to the character.’ 
Photograph: Geoffrey Pugh


Lee Child on Jack Reacher: 'I don't like him that much'


Author says he takes a hard-hearted approach to character and planned to kill him off

Alison Flood
Saturday 27 July 2020

Jack Reacher has millions of fans all over the world, but his creator, Lee Child, has revealed he doesn’t “like Reacher that much” and originally planned to end his bestselling thriller series by having his character “bleed out on some filthy motel bathroom floor”.

The Lost Dog by Michelle de Kretser / Synopsis

 




The Lost Dog
by Michelle de Kretser

Synopsis

Tom Loxley is holed up in a cottage in the bush, trying to finish his book on Henry James, when his dog goes missing, trailing a length of orange twine. As Tom searches it becomes clear that he needs to unravel other puzzles in his life and the story shifts between past and present, taking in his parents' mixed-race marriage in India, their arrival in Australia in the 1970s, Tom's own failed marriage, and his current involvement with Nelly Zhang, an artist with her own secrets and mysteries.

Longlisted for the Man Booker Prize 2008.

KOBO


Wednesday, April 13, 2022

Angela Carter and Natsume Soseki / Finding oneself at home



Angela Carter

Finding oneself at home


Both Angela Carter and Natsume Soseki found new insights into their respective homelands when living abroad. Caryl Phillips reflects on the role of the writer as 'outsider'
Caryl Phillips
Saturday 21 January 2006 01.35 GMT


T
wenty years ago I first visited Toronto. I was attending my first literary festival, and the invitation had arrived by way of my London publisher. Initially, I was sure my publisher had made some terrible mistake and that the invitation was intended for one of its more illustrious authors. Unless I was misreading the letter, the proposal was that I be presented with a free round-trip air ticket from London to Toronto, housed in a grand five-star hotel for a week, paid a generous daily stipend, taken on a variety of outings to places such as Niagara Falls, and furnished with invitations to various parties and dinners celebrating myself and my fellow authors. In exchange for this largesse, I would be expected to read from one of my two novels for a mere 20 minutes and, incredibly enough, for this reading I would also be paid an additional fee. Such was my initiation into the world of literary festivals.

Angela Carter and Surrealism by Anna Watz

 

Leonor Fini, La Leçon de Botanique (detail), 1974, oil on canvas

Angela Carter and Surrealism by Anna Watz 


Caleb Sivyer

March 2, 2017


Anna Watz. Angela Carter and Surrealism: A Feminist Libertarian Aesthetic. 
Abingdon: Routledge, 2016.

 Scholarly work on Angela Carter has grown enormously since her untimely death in 1992. While a number of introductions to her work appeared throughout the 1990s, such as Sarah Gamble’s Angela Carter: Writing from the Front Line (1997) and Aidan Day’s Angela Carter: The Rational Glass (1998), more recent studies have focused on particular aspects of her work or have sought to unpack the broad range of literary and non-literary influences. Edited volumes such as Rebecca Munford’s Re-Visiting Angela Carter: Texts, Contexts, Intertexts (2006), and Sonya Andermahr and Lawrence Phillips’ Angela Carter: New Critical Readings (2012) have opened up the field of Carter studies by shedding light on the way that she appropriated material from the past.1 As Carter herself put it, “I feel free to loot and rummage in an official past, specifically a literary past, but I like painting and sculptures and the movies and folklore and heresies, too.”2 One thing that Carter “looted” was surrealism, and this aspect of her work has, until now, gone largely unacknowledged. As Anna Watz argues in Angela Carter and Surrealism: A Feminist Libertarian Aesthetic, surrealism has only ever been considered a “marginal influence on Carter’s writing,” something which her book addresses by conducting a comprehensive and engaging study of the way that surrealism permeates Carter’s writing project.3

Tuesday, April 12, 2022

Michael Cunningham / Such Good Friends

 


Such Good Friends


A HOME AT THE END OF THE WORLD

by Michael Cunningham.

343 pp. New York: Farrar, Straus & Giroux.


Joyce Reiser Kornblatt
November 11, 1990

"I WANTED a settled life and a shocking one," says Clare, one of the members of the troubled menage in Michael Cunningham's absorbing second novel, "A Home at the End of the World." In that confession, Clare speaks for all the characters in this literary ensemble piece -- her gay housemate, Jonathan, who cannot reconcile his love for Clare with his sexual nature; Bobby, his boyhood friend from Cleveland, who joins them in New York, becomes Clare's lover and fathers her baby; Erich, Jonathan's longtime lover, who enters the household near the end of his struggle with AIDS; Bobby's doomed family, and Jonathan's parents, Alice and Ned, who provided Bobby with a haven even as their marriage was failing to nourish the resigned partners themselves. "Really, I think staying is the cowardly thing," Alice tells Clare after Ned's funeral; a short while later, Clare will leave Jonathan and Bobby, taking with her the child they both adore.

Michael Cunningham / Parallel Lives

 

Michael Cunningham
Photo by Brad Fowler

Parallel Lives


A novel that echoes 'Mrs. Dalloway' features Virginia Woolf as a character.


By MICHAEL WOOD
November 22, 1998

THE HOURS
By Michael Cunningham.
230 pp. New York:
Farrar, Straus & Giroux. $22.

O

n a morning in June, a woman in her early 50's steps out into the bright, busy city that she loves. She needs to buy flowers for a party she is giving later in the day. She bumps into an old acquaintance, remembers moments from her earlier life. Along with a number of other people, she catches a glimpse of a celebrity, but isn't sure who it is. She buys the flowers, goes home and her day continues.

Where are we? We could, of course, be in any one of a number of days and cities, and the possibility itself is part of the answer to the question. But we are quite definitely, recognizably, in two novels: ''Mrs. Dalloway,'' by Virginia Woolf, and ''The Hours,'' by Michael Cunningham.

Michael Cunningham by Justin Spring

 

Michael Cunningham by Justin Spring

BOMB
January 1, 1999


The day of my interview with Michael Cunningham, a clear, bright October afternoon, I was on my way to his sixth floor walk-up when I noticed a man with a distracted expression walking down the street carrying a large cardboard box in his arms. I called out a greeting. He turned and looked at me in surprise.

Monday, April 11, 2022

Maurice Sendak / Many Happy Returns, Where the Wild Things Are!

 


Many Happy Returns, Where the Wild Things Are!



Ellen Duthie
Wednesday 27 November 2013

This month it is 50 years since Maurice Sendak gave children of then, now and tomorrow Where the Wild Things Are: a paper mirror for children to walk through in wonder and see portrayed their inner conflict between frustration, anger and incomprehension, on the one hand, and the need to accommodate a formally illogical but emotionally necessary mutual forgiveness, on the other.

The Art of Maurice Sendak / Where the Wild Horses Are

 

Maurice Sendak

The Art of Maurice Sendak

Where the Wild Horses Are: "Hide your Eyes"
Ellen Duthie
Tuesday 2 July 2013

The Art of Maurice Sendak, by Selma G Lanes (Abradale Press/Harry N. Abrams, Inc. 1980) is great to look at and even better to read. Thoroughly entertaining and full of knowledge, detail and analysis, it is more than highly recommendable.

Outside Over There by Maurice Sendak / Review

 

Illustration by Maurice Sendak


Outside Over There: "But never watched"

Outside Over There by Maurice Sendak
The Bodley Head, 1981
Our edition: Red Fox (Random House), 2002

Ellen Duthie
Thursday 14 June 2012




















Since my wide-eyed, somewhat uncertain reaction to Outside Over There the first time I read it, ten months have gone by and it has become one of our unquestionable favourites. This I owe mainly to Sendak, who is a master of books that grow with each reading, but also to a great extent to my son, who made me see clearer than ever before, that adult fears about what might make children afraid are usually based on... adult fears.

Saturday, April 9, 2022

Windows on the world by Tessa Hadley


Windows on the world 

by Tessa Hadley


J
ustin Cartwright's new novel begins with a bracingly unsentimental premise. After the death from cancer of Nancy, his wife of more than 30 years, David Cross feels not devastated, but released. "Without Nancy, he is both more uncertain and more free." She has brought up his children and kept a home for him to return to between adventures - he's a retired TV news reporter, who toured foreign wars and trouble hotspots - and outwardly he pays his dues of gratitude for that. No one else knows what he acknowledges to himself: how much compromise and falsity have been necessary to sustain their lifelong relationship. Among other concealments, he has never told Nancy that he knew about an affair she had when he was away and the children were small. Her death frees him to embark upon his new adventure of seeing things for what they really are, which is the story of the book. "After her affair, he found himself unable to see Nancy clearly. Now he feels he can inhabit her mind, as if he's moved into a vacated house."

Author, author / Tessa Hadley

 

Tessa Hadley


Author, author: Tessa Hadley


'It's probably healthier for a writer to be impressed by teachers and sailors and dancers and field-workers than by writers'

Saturday 5 June 2010

What we admire in the writers we love is their confident authority – authority in the sense of originating a scene and a vision and a form of words. How does Nadine Gordimer know to begin her novel with a bird welcoming an exile home to Africa? How does John McGahern know that he can make a whole world circle around one quiet country lake in his late stories? Where does Alice Munro get the bravura to jump 25 years between paragraphs?

Friday, April 8, 2022

Poetic justice by Moya Roddy

 


Poetic justice, a new short story by Moya Roddy

A young woman attends Cúirt and court in the same day and suffers the consequences


Moya Roddy
October 14, 2021

F***in’ mad, Stacey thought, eyeing the crowd milling outside the theatre. Imagine goin’ to hear poetry this hour of the morning. Across the entrance to the building a large banner blazed: Cúirt International Festival of Poetry and Literature. The word ‘Cúirt’ had a fada on the ‘u’. Stacy wondered what ‘Cúirt’ meant? Something to do with courting? Isn’t that what her granny called snogging? Having a good court, she’d say, except she pronounced it curt. Not that Stacey could imagine her granny kissing anyone. Or anyone kissing her. Still she must have done, otherwise her ma wouldn’t be here. And if her ma wasn’t here she wouldn’t be standing outside a poxy courthouse waiting for her case to be called. Her granny shoulda kept her tongue to herself.

Skopas by Jamie Quatro



Skopas
by Jamie Quatro

At the café in Little Rock, lantana blossoms dangle from pots, quivering in a breeze I pretend is coming from some shore behind me. Santa Barbara, say. Westmont University, say. Pacific wide with possibility, you will be good, you will do good things in the world, back when I and the boy who would four years later die of lymphoma drove to Malibu and held one another inside a rolled-up blanket on Westward Beach. Wow, your quadriceps are amazing, he’d said in the middle of our record Smash Ball volley, and I wanted to say something in return, something about his pectorals, but what I said inside the blanket was It would be so easy, meaning cheat on my fiancé, or maybe just kiss. Easy to walk away from everything waiting on the other side of his response (we can’t, your wedding’s in two months), the husband I wouldn’t fall in love with until years after our wedding, who said, on our third anniversary, I know you’re unhappy, I know you felt trapped into marrying me, let’s see a therapist, half of each of our children still waiting inside me: the daughter who, at eighteen, would marry a man twelve years her senior, the son who would lose six adult teeth in a skateboarding accident, and the youngest, the high-cheekboned, Juilliard-trained beauty who could sustain such high, pure notes even seasoned conductors would stop rehearsals to gather themselves.

After the beach, the boy and I drove up the coast to my apartment and sat with our backs to the sea-facing windows, flung wide to admit the breeze, cool on my damp hair, and he told me he loved me—real, true love—and wanted to be the one to marry me, not yet but someday, and then, his hands on my quadriceps, he asked me to cancel the wedding. We had sex right there on the carpet. I think of that girl now, picking up her strewn bikini and shorts and T-shirt, saying what she believed was the right thing. Can’t cancel. Won’t. But what if the universe is self-correcting? What if the husband and children she has now would have come to her anyhow, eventually, what if she could have had that boy and her long marriage without resentment, or longing? The boy hightailed it home to Texas. Took exams long-distance, didn’t walk at graduation, where his best friend pulled me aside and said, formally, as if dictating for translation, It is not love, it is only lust. And four years later, when I heard the boy died, I wrote a letter to his mother. Wept for an hour. And then his importance receded and he became simply the first of many hypothetical lives. Like that Gilbert poem about the ancient sculptor, the remaining chinks on plinths, each an indication of how his figures might have stood.




Thursday, April 7, 2022

It's Chilly in Here, Don't You Think? by Lygia Fagunes Telles

It's Chilly in Here, Don't You Think?

by Lygia Fagundes Telles
Translated from the Portuguese by Eric M. B. Becker

 

She slowly extricated her hand from his grip and turned toward the wall. A blank white wall, not a single picture or even a nail mark—nada. If only there were a tiny hole left from a nail she could crawl into and disappear. She suddenly remembered the small insect struggling to crawl into the lime mortar, forcing itself into a small opening before it disappeared, fleeing. It’s easier to escape when you’re an insect, she thought, and folded her hands. What’s the first thing you do after making love? was the moronic question all those morons answered on the talk shows. I light a cigarette and lie there looking at the ceiling, some said amid giggles. Others provided more detail: I throw on my boxer shorts and grab a beer from the fridge. Or chicken wings. More giggles. And the talk show host never remembered to ask how they would react in a more delicate situation, when nothing happened at all. Where was one supposed to look? She turned back toward Armando, who was propped up against the headboard, with his elbows on the pillows, smoking and listening to music with an expression of pure ecstasy. I’m nothing more than a disgusting romantic, she thought.

Lygia Fagundes Telles / Master of the Haminan and the Fantastic

 


Lygia Fagundes Telles

LYGIA FAGUNDES TELLES, MASTER OF THE HUMAN AND THE FANTASTIC

By Lorena Sales dos Santos

April 6, 2020

My first contact with the work of Lygia Fagundes Telles was during my early years of college, during a summer vacation. My mother,  who was an avid reader and had recently started to write some short stories, was reading Telles’s book Antes do Baile Verde (Before the Green Ball would be the literal translation of the book’s title). The book was first published in 1969 but has had several other editions. Since I was looking for something to read during the lazy afternoon hours of the summer, when I returned from the beach to be with cousins and friends, my mother offered me the book she had just devoured so fast.

Wednesday, April 6, 2022

Lygia Fagundes Telles, Popular Brazilian Novelist, Dies at 98

 

Credit...
Photo by Chico Albuquerque

Lygia Fagundes Telles, Popular Brazilian Novelist, Dies at 98

One of her country’s first writers to address female sexuality from a woman’s perspective, she produced four novels and dozens of short stories that could be read as political allegories.

Michael Astor
April 4, 2022


Lygia Fagundes Telles, one of Brazil’s most popular writers, whose stories of women trapped in unsatisfying relationships could also be read as allegories of her country’s political situation, died on Sunday at her home in São Paulo. She was 98.

Lygia Fagundes Telles and Manuel Alegre

Lygia Fagundes Telles



Lygia Fagundes Telles 

and Manuel Alegre


BOMB 102
Winter 2008
The Brazilian novelist and short story writer Lygia Fagundes Telles and the Portuguese writer Manuel Alegre met each other at the Book Biennial in Rio de Janeiro, which took place last September. Alegre is renowned in Portugal as a novelist, poet, and public figure with a long engagement in politics, from his early days as a law student opposing the 40-year dictatorship of Antonio de Oliveria Salazar (1933–74) to his imprisonment and exile in Algiers, to his running for president in the 2006 Portuguese elections. Alegre traveled to Brazil to participate in the launching of his book Cão como nós (A Dog Like Us), a lyrical memoir featuring his family’s relationship with Kurica, an epagneul breton, their companion over many years.

Seminar on the Extermination of Rats by Lygia Fagundes Telles

 

The Dance of Rats
by Ferdinand van Kessel


Seminar on the Extermination of Rats

A Short Story by Lygia Fagundes Telles

Translated by Eric M. B. Becker.

 

“My god, what a century!” exclaimed the rats and
they began to chew the building to pieces.


The Chief of Public Relations, a young man of medium stature, a smile and eyes that shone brightly, adjusted the knot in his red tie and gently knocked on the door of the Secretary of Public and Private Wellbeing:

“Your Excellency?”

Tuesday, April 5, 2022

Taiye Selasi on why she can never go ‘back’ to Africa

 

 

Taiye Selasi
Photo by Frederic Aranda


Taiye Selasi on why she can never go ‘back’ to Africa


By Fleur Macdonald 
Photography by Frederic Aranda
September 25, 2015


Taiye Selasi is relentlessly charming. Her enthusiasm is also completely disarming. She peppers her emails from Rome to the photographer Frederic Aranda, who shot her in New York, with Italian words and exclamations, signing off ‘Abbracci forti’ (‘Strong hugs’). It would seem over the top if it didn’t also come across as genuinely affectionate. The same warmth and humanity shine in her essays, short stories and novels.

Literary City / Taiye Selasi’s Rome

 

Taiye Selasi


Literary City: Taiye Selasi’s Rome

One of the world’s best beautiful and charming cities is also the new home of novelist Taiye Selasi. She talks to Henry C. Krempels about her favourite haunts, why the city insipires her, and new writers not to be missed.


One hundred pages into her career as a novelist, Taiye Sleasi had signed a two-book contract and could count Nobel winner Toni Morrison as a fan. Perhaps it’s understandable then, that the next hundred or so pages that completed her debut took much longer to write, with an agonizing six-month block and two different emigrations in between. Now living in Rome (via Paris) the part Ghanaian, part Nigerian, British-born, American-educated author of the widely admired Ghana Must Go, is writing the second book set in the city she now lives.

Monday, April 4, 2022

Spiderweb by Mariana Enriquez




Spiderweb

by Mariana Enriquez
Translated, from the Spanish, by Megan McDowell.



December 11, 2016

It’s harder to breathe in the humid north, up there so close to Brazil and Paraguay, the rushing river guarded by mosquito sentinels and a sky that can turn from limpid blue to stormy black in minutes. You start to struggle as soon as you arrive, as if a brutal arm were wound around your chest, squeezing. And everything is slower; during siesta there is only a rare bicycle in the empty streets, the ice-cream shops seem abandoned, with their ceiling fans spinning for no one, and the chicharras shriek hysterically in their hiding places. I’ve never seen a chicharra. My aunt says they’re horrible creatures, spectacular flies with green wings that vibrate and smooth black eyes that seem to look right at you. I don’t like the word chicharra. They’re also called cicadas, which I think has a smoother sound. If they were always cicadas, their summer noise would remind me of the violet flowers of the jacaranda trees along the Paraná, or of the white stone mansions with their staircases and their willows. But as chicharras they make me think of the heat, rotting meat, blackouts, drunks who stare with bloodshot eyes from their benches in the park.