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Rage and Rapture: On Translating Mohamed Leftah’s “Captain Ni’mat’s Last Battle”
Lara Vergnaud reflects on translating “Captain Ni’mat’s Last Battle,” Mohamed Leftah’s posthumous 2011 novel.
Fiction
"Fiction is obliged to stick to possibilities. Truth isn't." — Mark Twain
Caught Out: On Alexei Remizov’s “Sisters of the Cross” and “The Little Devil and Other Stories”
Fiona Bell is both captivated and disturbed by the narratives of violence in “Sisters of the Cross” and “The Little Devil and Other Stories” by Alexei Remizov.
Nuanced Portraits: On Brandon Taylor’s “Filthy Animals”
Brandon Taylor’s gift for close, empathetic observation is on display in the linked stories in this new collection.
Aiming for the Unmediated Response: A Conversation with Brandon Taylor
The author discusses his first short story collection and the utility (or not) of creative writing programs.
Mapping the Sites of Trauma: On Azareen Van der Vliet Oloomi’s “Savage Tongues”
The heroine of Oloomi’s latest novel is driven by an urge to rewrite a painful personal history.
Memory Speaks: On Sasha Filipenko’s “Red Crosses”
Magdalena Miecznicka is captivated by “Red Crosses”, Sasha Filipenko’s first novel to be translated into English.
“Being Single Is Not a Vocation”: On Simone de Beauvoir’s “Inseparable”
A novel about female friendship that Beauvoir wrote in 1954 is now available in the US in English.
An Innocent Abroad: Joan Didion’s Midlife Crisis
Because of her failure to see beyond the world that raised her, Didion almost wasted two decades of literary production.
Aristocratic Nostalgia: On Mateiu Caragiale’s “Rakes of the Old Court”
A masterpiece of Romanian modernism finally available in a superb English translation.
“A Stranger Steps into the House”: On Ashley Nelson Levy’s “Immediate Family”
Ryan Smernoff explores the boundaries of familial love in “Immediate Family,” a debut novel by Ashley Nelson Levy.
Idiom as Instrument: On Yan Lianke’s “Hard Like Water”
Thomas Chen reviews Yan Lianke’s “Hard Like Water,” translated by Carlos Rojas.
“Of Course, of Course”: On Anthony Veasna So’s “Afterparties”
Summer Kim Lee reviews Anthony Veasna So’s “Afterparties.”
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