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Most Resistance Does Not Speak Its Name: An Interview with James C. Scott
Francis Wade interviews James C. Scott about state resistance in Southeast Asia and beyond.
Around the World
"For a long time now I haven't been I."
— Fernando Pessoa, The Book of Disquiet
The Chains of the Past: On A. M. Bakalar’s “Children of Our Age”
Mary Rodgers reviews A. M. Bakalar’s unflinching yet ultimately compassionate second novel, “Children of Our Age.”
Francine Prose’s Problem
Gina Apostol objects to Francine Prose’s objections to Sadia Shepard.
“A Single Wand of Rusted Quince”: On the Visionary Poetry of Bohuslav Reynek
Michael Tate peers into “The Well at Morning: Selected Poems, 1925–1971” by Bohuslav Reynek, translated by Justin Quinn.
Means of Escape: César Vallejo’s “Scales”
David S. Wallace reviews César Vallejo’s “Scales.”
What We Talk About When We Talk About Translation
Deborah Smith, whose rendition of Han Kang’s “The Vegetarian” won the Man Booker International Prize, reflects on the controversies of translation.
An A to Z of Iain Sinclair on the Occasion of the American Publication of “The Last London: True Fictions from an Unreal City”
Geoff Nicholson goes through the alphabet to describe the multifaceted work of Iain Sinclair.
To and from the Linguistic Shore of Ismail Kadare’s “A Girl in Exile”
Michael Valinsky appreciates the self-reflexive beauty of Ismail Kadare’s “A Girl in Exile.”
To Petrify Time: On Grigory Kanovich’s “Shtetl Love Song” and Sergey Kanovich’s Lost Shtetl Project
Linda Kinstler considers two Lithuanian Jewish memorial endeavors, Grigory Kanovich's novel “Shtetl Love Song” and his son Sergey’s “Lost Shtetl” project.
Words That Speak of What Is Human: On Mireille Gansel’s “Translation as Transhumance”
On how Mireille Gansel guides us.
We Have More in Common Than We Know
To read "Translation as Transhumance" is to transhume with Mireille Gansel as she cultivates a multidimensional understanding of language.
Lyrical Oblivion: László Krasznahorkai’s “The World Goes On”
Nicky Loomis follows the winding sentences of László Krasznahorkai's "The World Goes On."
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