Open Letter Summer 2011 [Catalogs]
OK, so I didn’t get to writing up all the things I wanted to this week, but before taking off for Amsterdam and the Non-Fiction Conference (see next post), I thought I’d share our Summer 2011 catalog. With a little luck, I’ll highlight each of these next week, with excerpts and the like, but for now, ...
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Antoine Gallimard in NY
For all you French speakers out there living in NY, this sounds like a really interesting event: The 100th anniversary of Gallimard Monday, January 24, 7:00 p.m. Antoine Gallimard in conversation with Olivier Barrot (in French) In 1988, Antoine Gallimard became the head of the Editions Gallimard, one of the ...
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Gary Racz Wins Alicia Gordon Award
Next spring (like March 2012), we’re publishing Gary Racz’s translation of Eduardo Chirnino’s The Smoke of Distant Fires. I’m really excited about this book, and especially excited to be able to work with Gary. I’ve only known him for a few years, but he’s one of the friendliest, funniest, ...
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Vook! [Things That Drive Me Insane]
Late on Saturday night, I came across this article by Virginia Heffernan about “video books.” Generally speaking, I like the pieces by Heffernan that I’ve read, in particular this piece about headphones. But this one on Vook? Oh dear god no. Although to be fair, I’m not sure what’s more ...
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Calypso Editions
Although they’ve only published one book so far — Leo Tolstoy’s How Much Land Does a Man Need, translated from the Russian by Boris Dralyuk with a foreword by Brian Evenson — Calypso Editions looks like a press worth paying attention to. Here’s how Elizabeth Myhr & Piotr Florczyk describe ...
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Six Questions with Charlotte Mandell
Zone has been getting a lot of attention recently, such as this review in the New York Times and in the recent issue of N+1. (I also found a copy on display at the Bay City Public Library—my hometown library—and someone had actually checked it out!) One of the first reviews of Zone actually appeared in the ...
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The Book of Things
Literary critic Edmund Wilson, writing in the 1930s, said that the pieces of Gertrude Stein’s Tender Buttons were intended to be “prose still-lifes to correspond to those of such painters as Picasso and Braque. A pattern of assorted words, though they might make nonsense from the traditional point of view, would be ...
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