Nye’s melding of voices in her new poetry collection is an activism of its own. Not only does this decision create a space for Palestinian mourning, it also actively works to shatter an us versus them mentality with regard to the Palestinian-Israeli conflict.
Mariateresa Di Lascia’s modern classic, which won the Strega Prize (the Italian equivalent of a Pulitzer)—but is only now forthcoming as an English translation—is incredibly pertinent to the way our society is grappling with how a woman’s life is often marked by an endless series of hidden indignities.
Jhumpa Lahiri’s work in Italian is reminiscent of liturgy books with Koine Greek on the left side and English on the other. That she includes the “little brother,” a moniker she’s given Italian, in her 2015 book—and on the left side—is a reversal of the norm.
I found within Perez’s poetry a dexterous remixing of the settler colonial archive, a deeply lyrical autobiographical sensibility, and a sustained commitment to the decolonization of literature, history, his native Guam, and other mappings.
Suarez opens his 2018 short story collection with a dive into the bizarre nature of Cuba: “Stealing the giraffe wasn’t the problem. Transporting it from the city to the countryside-even at two a.m. on a Wednesday night with a few bribed cops clearing the path-that was another story.”
How difficult is it for a story to move continents? One of Sherlock Holmes’ early Chinese translators, Cheng Xiaoqing, decided to find out, transplanting Sherlock Holmes from the foggy streets of nineteenth century London to his own Republic-era Shanghai.
Jansson’s 1989 novel serves as a particularly poignant antithesis of the “loner artist” narrative, dealing instead with a loving partnership that, rather than getting in the way of artistic work, lifts and expands it.
By making her first novel’s characters classicists, Donna Tartt lets us in on the trick: that this book is, in essence, a modern day Greek tragedy.
Kim Hyesoon’s poetry collection recognizes the necessity of tracing lives erased and extinguished by political repression, patriarchy, and capitalist imperialism.
Kevin Goodan seizes on the persistent remembering that characterizes PTSD in his new book, creating an elegy that develops a kind of poetic logic of the fear system.