“Recounting provides an illuminating account of the political ferment in Catalonia during the Spanish Civil War, as well as showing us the philosophical development of the tale’s fearless protagonist. Brendan Riley’s translation is fluid and engaging . . .”
Read the excerpt of “5creenstars” online.
ATTENTION TRANSLATORS: Dalkey Archive Press is pleased to announce that we are now accepting submissions of recent or forthcoming short stories and stand-alone novel extracts by European authors for Best European Fiction 2019. We are looking for translations from all the countries that represent Greater Europe, from Ireland and Portugal to Belarus and Azerbaijan. We are interested in finding stellar fiction translated from all European languages—from Greek, Galician, French, Finnish, Romanian, Russian, Swedish, Slovene, and so on—as well as stories originally written in English.
Submissions should be recently published in their original language and cannot have been previously published in English translation. Submissions should be between 2,000 and 6,000 words long. Translators may make up to three submissions per language. Please do not submit work by authors who have already appeared in a previous edition of the anthology. (To see a complete list of authors who have appeared in past issues of Best European Fiction, click here.) If possible, check with the original publishing house to make sure that rights are available before submitting.
Please send the following to email@example.com:
• the submission(s) in Word format
• relevant background information about the author
• contact information for both translator and rights holder
Deadline for submissions: October 1, 2017
Joe Milazzo of Entropy conducted an interview with NOVEMBER author, Christopher Woodall, through February to March 2017. Read his introduction below and enjoy the full interview online at Entropy.
Christopher Woodall’s November (Dalkey Archive) is a big book. I knew that going in, and, frankly, its length (just a little over 700 pages) contributed significantly to its allure. Yet it took me longer to “finish” November than I anticipated. Then again, reading isn’t consumption in either an appetitive or a capitalistic sense. So I’ve grown rather fond of the odd luxuries November affords me, chief among them the opportunity to spend as much time as I’d like refurbishing my reality with materials borrowed from its immense reserves.
Big books like November — or Perec’s Life: A User’s Manual, or McElroy’s Women and Men, both of which are akin to November even though the resemblances are more superficial than genetic — only seem self-sufficient so long as they remain closed. Open one, though, and you’ll find that the big book’s forbidding densities are quite porous. Moreover, the best big books do not speak with a single voice: “Curious reader, this genius hardly needs your hypotheses.” (Great) big books invite you to add your own descants to its chorus. And the present truly does begin to dance once it’s been admitted to a narrative whose range and scale are equal to the unconformities of lived experience.
Which is also to say that, if a big book is worth its weight (in whatever), it is not “hard work,” a simulacrum of entertainment. It is leisure; it is a form of liberation that is utterly shameless about its girth and heft. So a big book, even one whose modulations are largely cynical or morbid, may yet be the last bastion of humanism. Still, some scholar has surely thought to ask this question already: what does the brain of an engrossed big book reader look like under the fMRI machine? I don’t necessarily want to see, but I do want to know my own mind better, only without the toxic side effects. Thank you to Christopher Woodall, whose incredibly generous and comprehensive responses to these 10 questions about his novel reveal so much more than my assumptions might ever have guessed.
“Battersby is a subtle and convincing psychologist, not just for human beings but also for these one-ton gods in our midst: horses, and for those creatures that have evolved in step with us: dogs. Her people are good, too.”
Read the full review online at The Huffington Post.
BOOK LAUNCH for Alannah Hopkin’s THE DOGS OF INISHERE
CORK WORLD BOOK FEST: Eileen Battersby in conversation with Eibhear Walshe
“Perhaps most appealing about the novel is the incidental color, the glimpses especially of Soviet times and the effects of local conditions on the characters, as well as then attitudes in the new times. Secondary characters like Enn’s former sister-in-law, and the man she was married to — and then what’s become of her — make for interesting side-stories — relevant also to Anni’s but also simply interesting on their own.”
Read more from the Complete Review online.
“In this darkly humorous novel, therefore, Toomey forces the reader to reflect on the idea of slipping. Is it the unconscious process of losing one’s footing unintentionally, or more about moving quickly and quietly without attracting notice?”
You can read the full review here.
“A graphic, grungy tale of addiction and consequences.”