New Books In Literature

Julia Alekseyeva’s graphic novel Soviet Daughter: A Graphic Revolution was published by Microcosm Publishing in 2017. This is the intertwining story of two women: Lola, who was born in a Jewish family in Kiev in 1910, and her great-granddaughter Julia, whose family moved to the United States from Ukraine in the wake of the events at Chernobyl. Lola has gone through the Bolshevik revolution, the Civil War, the Stalinist purges, deportation to Kazakhstan, and the Chernobyl disaster and these are her real-life memoirs that lay the foundation for the novel. The chapters telling Lola’s story are alternated with shorter interludes from the contemporary life of the second protagonist, Julia, a representative of the generation of millennials, who are struggling to come to terms with their idealistic views on life and politics amidst the changing world order. Alekseyeva, who is a PhD student in Comparative Literature at Harvard University, works on avant-garde cinema in the USSR, Japan, and France, and her

Rivi Handler-Spitz, Pauline C. Lee, and Haun Saussy have created a wonderful resource for readers, researchers, students, and teachers alike. A Book To Burn And A Book To Keep (Hidden): Selected Writings (Columbia University Press, 2016) collects and translates a range of works by Li Zhi, a fascinating and significant figure in the history of China and its literatures. His most famous books, A Book to Burn (likely first pub in 1590) and Another Book to Burn (first published posthumously in 1618), make up the focus of the work translated for this volume, which also includes other materials. In the course of our conversation we talked both about the volume and its wonderful collected contents, and also about practices of and approaches to translation more generally.Learn more about your ad choices. Visit megaphone.fm/adchoices

Quincy Carroll’s new novel Up to the Mountains and Down to the Countryside: A Novel (Inkshares, 2015) follows the experiences of a handful of expats teaching English in China, simultaneously offering a compelling story and a peek into various ways of making a life from encounters with dislocation. Readers explore Ningyuan (in Hunan) along with two very different though perhaps not so different(?) figures in the teachers (Thomas) Guillard and Daniel. As their stories and lives intersect the distinctions between these men begin to blur, as do the distinctions between notions of home and away, self and other, and much more. In the course of our conversation, Carroll and I spoke about the book, the experiences that helped inspire the novel, and his experience publishing fiction with Inkshares. Enjoy!Learn more about your ad choices. Visit megaphone.fm/adchoices

“Surveillance and literature, as kindred practices, have light to shed on each other.” When David Rosen and Aaron Santesso considered the discipline of surveillance studies in the wake of the attacks on September 11, 2001, they saw contributions from political scientists, sociologists, legal scholars, and engineers, but found that “the distinctive and necessary contribution of the humanities as such to this conversation” had “largely gone unarticulated” (5). The Watchman in Pieces: Surveillance, Literature, and Liberal Personhood (Yale University Press, 2013) is a wide ranging, deeply researched, and compellingly argued corrective to that lacuna that places humanistic thought, and in particular literary history, in complex and satisfying conversation with the disciplines working to theorize surveillance for our moment. Arguing that “the ultimate target of all surveillance activity: the individual self” is best approached as a knot of questions rather than a stab

Mental illness and other emotional troubles are relatable experiences for Polly Buckingham, author of the new collection of short stories, The Expense of a View (University of North Texas Press, 2016). In this collection, Polly channels her experiences into rich stories that capture the essence of mental illness and the humans who deal with it. She speaks with me about the healing that can come from writing–and reading–these stories and about her unique views on life, writing, and consciousness. If you’re a writer, psychologist, or someone who’s interested in how other people experience the world differently, this interview is a do-not-miss. Polly Buckingham teaches at Eastern Washington University and is director of its Willow Springs Books. She is also founding editor at SpringTown Press, and her previous book is entitled A Year of Silence. Eugenio Duarte is a licensed psychologist and psychoanalyst practicing in New York City. He treats individuals and couples, with specialties in

Have you ever wondered about your family history, and how family traditions or secrets through the years may affect you, your behavior, and major aspects of your life? Velvet (AuthorHouse, 2013) begins with Ludie, a young, unwed mother escaping reality down a dusty Southern road. Author Holly Charles also found a way to escape reality; or, rather, found a means to cope with reality years ago when she first began to write about her complicated relationship with her mother. It was through her own extensive research and many meaningful conversations with her grandmother that she identified several common themes in mother/daughter relationships particularly in (but not exclusive to) the African American community. All mothers, regardless of race and culture, seek to protect their children from the demons and disappointments they themselves have been hindered by. Trying to spare their own daughters the pangs of womanhood and colorist ideals causes African American mothers to reproduce their own personal feelings o

Back in 2013, in The New York Times, essayist Christy Wampole declared that we are in a moment of “the essayification of everything.” She noted how not only the genre, but also the genres inventor, Michel de Montaigne, seemed to be popping up everywhere and she saw the essay “a talisman of our times.” Why? What about the essay struck her as so current, so important? Wampole thought that “the genre and its spirit provide an alternative to the dogmatic thinking that dominates much of social and political life in contemporary America.” The essay is the opposite of the rant, the polemic, the click-bait, the crude headline, and the stupid sound-byte. The essay invites complexity, contradiction, nuance–all of those qualities that mark the real experience of our public and private lives. Essays want to reckon with the rich immensity that is in us and is us. Now, if you’re like me and feel despair about the degree of dogmatic thinking that now dominates our social and p

How do we mourn those we’ve lost? What are the rituals and rites that allow us to understand our loss? To feel the measure of it? To heal, if we need healing? To reach closure, if we need closure? For any of us who have had a loved one die, these questions are personal ones. Suddenly were faced with an emptiness we cant fill and, at the same time, an often overwhelming abundance of memory and emotion. And yet the questions are not only personal, because, when we become mourners, we fall back on the cultural practices of mourning that our society offers us. Here in America, visiting hours, funerals, eulogies, obituaries, and wakes are a few of the ways we reckon with our dead. Unsurprisingly, other cultures have other practices. In Madagascar, for example, the Malagasy people have a ritual called famadihana, where once every five or seven years families celebrate their ancestral crypts by exhuming the corpses and spraying them with wine or perfume. Its a celebration of their past, full of music and danci

Dilapidated thirteenth-century walls as a playscape for today’s children, medieval relics made as fetish objects for twenty-first century enthusiasts, tourism at “the birthplace of King Arthur,” Harry Potter’s pageantry, Game of Thrones‘ swordplay, the Renaissance Faire, York’s mystery plays, America’s jousts, and Chaucer translated into a panoply languages: the European medieval endures in the global postmodern. In Medieval Afterlives in Contemporary Culture (Bloomsbury Academic; Hardcover 2015, Paperback 2017), Gail Ashton collects the work of 29 scholars studying the ongoing power and pleasure to be found in the ways that we resuscitate and remix remnants of the medieval world. This wide-ranging introduction to the study of contemporary medievalisms engages the questions of authority in interpretation, authenticity in translation and adaptation, and the accessibility of the past that inhere in the many ways that we engage the middle ages in the twenty-first century

Like so many Americans, I’m a big fan of the undead. I look forward to a night of nail-biting when a new episode of The Walking Dead airs and I get excited when Hollywood gears up for the next big-budget film featuring zombie hordes. I also love those rarer literary takes on the undead, such as Colson Whitehead’s Zone One, and I even published my own riff on the genre entitled The Cliffs, which imagines what those familiar zombies might do in the Appalachian foothills where I live. If you share my enthusiasm for people not quite alive and not quite dead and, well, not quite people, you’re in for a post-Halloween treat. Medieval historian and former grave-digger Scott Bruce has assembled an anthology of tales about the undead that shows were not alone. Readers have been fascinated by spirits, ghosts, apparitions, demons, and zombies since the start of Western literature. Bruce’s anthology, The Penguin Book of the Undead: Fifteen Hundred Years of Supernatural Encounters (Penguin, 2016) b

Becoming Sui Sin Far: Early Fiction, Journalism and Travel Writing of Edith Maude Eaton (McGill-Queens University Press, 2016) is a collection of works–previously published and newly discovered–produced by Edith Eaton, the writer whose literary status seems to escape the limitations of definitions and categorizations. Sui Sin Far is one of the pseudonyms Eaton invented: this gesture can also be presented as an attempt to escape the limitations of, so to speak, one life. Through compiling Eaton’s diverse oeuvre, Mary Chapman, the editor of the collection, presents her vision of Eaton, initiating the reconsideration of the stereotypical reading of Eaton as the writer who was interested predominantly in the exploration of the themes connected with Chinese immigrants in Canada and in the US. The current edition includes four main parts that present the trajectory of Eaton’s writing: “Early Montreal Fiction, Poetry, and Literary Sketches (1888-1891)”;” Selected Early Journ

Kathryn Kleppinger’s Branding the Beur Author: Minority Writing and the Media in France, 1983-2013 (Liverpool University Press, 2015) examines the “paradox of ethnic minority writing” in the work of multiple authors of North African descent over a thirty-year period. Organized chronologically as a series of portraits, the book’s chapters deal with the literary (and filmic) output of an impressive number of writers, including Mehdi Charef, Azouz Begag, Farida Belghoul, Soraya Nini, Samira Bellil, Rachid Djaidani,Faiza Guene, and Sabri Loutah. Considering literary works themselves, as well as the audio-visual media representation of texts and authors on French TV and radio, Kleppinger’s analysis pushes back against the tendency to understand “beur” literature in exclusively social and political terms at the expense of aesthetic or artistic readings. Drawing on a range of sources, from literature to television and radio archives, to interviews Kleppinger conducted with t

Admiring books that appeal to our hearts and souls, rather often we want to know more about the writers who create them. If a book is a dialogical and communal entity–as readers we also participate in interpreting what we read, adding to and/or subtracting from the meanings of, so to speak, “original” texts and sharing our ideas with others–a portrait of the writer takes the audience to a somewhat different realm. Who creates writers’ portraits? What sides of writers’ lives get exposed, and which ones remain silenced, hushed-hushed, discreet? Who decides what portrait should be (or even must be) produced? And for what purpose? Readers rather often want to know more about people who wrote stories with which they fell in love; stories that they would like to share with their loved ones; stories that inspire them or, although it may sound cliched, change the way they look at life. Biographies are one of the sources to receive at least some access to the lives of others. But wh

Daniel Moran’s Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers (University of Georgia Press, 2016) provides a compelling investigation of how O’Connor’s initial reputation of a Southern female writer over the years evolved into her status of great American writer. The subtitle of the book–Her Critics, Her Publishers, Her Readers–hints at a variety of details contributing to a literary multilayered portrait. In his research, Dr. Moran considers a number of critical reviews, readers reactions, and publishers commercial decisions while following the trajectory of O’Connor’s reputation. In the introduction, Dr. Moran notes that his book is “less a work of literary criticism than of a book history and cultural analysis” (9). His research invites a discussion of how the perception of literary texts is (or can be) shaped through conversations about them. Creating Flannery O’Connor draws on the theory of “rules of notice̶

We commonly think of Walt Whitman as the great American poet, the gray-bearded bard who captures the democratic music of our country with, as he called it, his “barbaric yawp.” And, sure enough, Whitman thought of himself this way. “I hear America singing” he famously wrote in the fourth edition of Leaves of Grass. What’s less commonly know is that Whitman had a very clear idea as to how a poet should create this song. In his preface to the very first edition of Leaves of Grass, that book he would add to and enhance throughout his life, he describes his vision of the poetic process: “The sailor and traveler . . . . the anatomist chemist astronomer geologist phrenologist spiritualist mathematician historian and lexicographer are not poets, but they are the lawgivers of poets and their construction underlies the structure of every perfect poem.” For Whitman, it’s the craftsmen and scientists who lay down the laws, and the poets must follow them. Now, if your ear

Jonathan Lethem’s latest novel, A Gambler’s Anatomy (Doubleday, 2016), traces the existential crisis of an international backgammon hustler who thinks he’s psychic and who, while plying his trade in Berlin, discovers a rare kind of tumor growing behind his face. His search for a physical cure, seemingly at odds with his spiritual quest for identity, takes him to California, where he becomes embroiled in conspiratorial circumstances which become increasingly indistinguishable from his growing inner turmoil. JONATHAN LETHEM is the New York Times bestselling author of nine novels, including Dissident Gardens, The Fortress of Solitude, and Motherless Brooklyn; three short story collections; and two essay collections, including The Ecstasy of Influence, which was a National Book Critics Circle Award finalist. A recipient of the MacArthur Fellowship and winner of the National Book Critics Circle Award for Fiction, Lethem’s work has appeared in The New Yorker, Harper’s Magazine, Rolling

Emily Dickinson is no ordinary poet. Her intelligent and profound work inspires a fierce attachment in those who love it. I know this first-hand. My wife began reading Dickinson soon after we first met and took to the poems so deeply that, a little over a decade later, she published a book about Dickinson’s spiritual life. What that meant for me–in addition to admiring her writing–was that for over a decade Dickinson was more or less a member of our household, readily quoted by my wife on almost any occasion. “If your Nerve, deny you,” she might advise me as I tried to parallel park, “Go above your Nerve.” Or, on a winter morning, she might suddenly reflect on the “polar privacy of a soul admitted to itself.” A number of times I had to remind her that not all of us speak Dickinson. And yet, even if I don’t speak Dickinson, I, too, admire the poet’s work, as well as the spiritual struggles she undertook. So I was delighted to come across Kristen

Eric Gardner’s new study Black Print Unbound: the Christian Recorder, African American Literature, and Periodical Culture (Oxford University Press, 2015) explores the development and voice of the Christian Recorder during the years leading up to and immediately after the American Civil War. As the house organ of the African Methodist Episcopal Church, the Recorder held a national reach among free African Americans and became an integral part of broader nineteenth-century black print networks. Through recovering the paper’s history, Black Print Unbound offers an important intervention into the study of African American literary history and American print culture. Eric’s teaching and research interests center on African American literature and culture and American literary history, and he is currently a professor of English at Saginaw Valley State University. His first monograph, Unexpected Places: Relocating Nineteenth-Century African American Literature was published in 2009 by the Universit

Kristin Stapleton’s new book opens onto a political crisis in China, and into a spirit of reform touched off by student demonstrations on May 4, 1919. Ba Jin was a teenager from a well-off family in Chengdu during this period. He wrote three popular novels Family, Spring, and Autumn, collectively known as the Turbulent Stream trilogy set in the reformist 1920s and in his hometown of Chengdu. Fact in Fiction: 1920s China and Ba Jin’s Family (Stanford University Press, 2016) focuses on one of them–Family– in order to look carefully at the ways that Chengdu in the May Fourth era inspired Ba Jin’s fiction. Each chapter takes one or more characters in the trilogy as its starting point, and the chapters collectively explore some central themes, including the physical transformation of Chinese cities in the early twentieth century, patriarchy and the Confucian family, militarist politics and Chinese cities in the first decades of the twentieth century, and the effects of revolutions in

It’s 1921, and Prohibition is in full swing, but you wouldn’t know it from the nightclubs and speakeasies of Chicago, where bathtub gin mingles with homemade bourbon distilled from trainloads of corn sugar shipped up from Southern farms. A young man named Al Capone is on his way up, the bar owners squabble over control of the sugar trade, and the police know to turn a blind eye. So when a drive-by shooting ends in murder, two young women–Eve, a black jazz pianist, and Lena, a white nurse–band together to find Eves missing stepsister and the killer of Lena’s brother in Sugarland: A Jazz Age Mystery (Noontime Books, 2016) a fast-paced, twisty, riveting journey through the seedy back alleys of the Windy City, where the Great Migration has only just begun to break down the barriers of racial segregation. Out of these disparate elements Martha Conway–the winner of numerous awards for her previous historical novel, Thieving Forest–blends a scintillating cocktail set to the