The Modern Novel blog has posted an extensive review of Única Looking at the Sea, by Fernando Contreras-Castro, translated by Elaine S. Brooks. Many thanks to John Alvey for this review and the constant work he does with contemporary novels in translation.
Poetry International, in collaboration with 3:AM Magazine, is showcasing a group of amazing young European poets, including our own Zvonko Karanović, author of Sleepwalkers on a Picnic. Steven Fowler, the Editor of the Maintenant Interview Series, interviewed Zvonko recently, saying:
Perhaps with some validation it is often suggested we currently inhabit an onanistic poetic culture. Mere decades ago there are innumerate examples of poets and their work changing the political landscape of their time, their words serving as a vital and indelible representation of protest, change and rebellion. It is unlikely that this phenomenon has become obsolete. Rather the poets creating this unforgettable work, which aims at the very heart of what they must suffer and observe, that they will not let pass unanswered, are off the radar of the zeitgeist. Yet in Serbia, in counter-cultural circles, Zvonko Karanović is a near legend. Working in the rebellious, revelatory manner of the Beats and the German new-wave, postwar poets, Karanović has been a relentless critic of Serbia and its actions over the last two decades. A Beat poet, in the most stringent and expansive manner, and an accomplished novelist, his work is resonant, dashing and singular. In an extraordinary interview, Karanovic speaks of his influences, the context of the Balkan wars and his experience of how Serbia, and Serbian poetry has altered in the countries tempestuous recent history. We are honoured to introduce Zvonko Karanović as the 27th edition of the Maintenant series.
Check out the entire interview here.
Don Yorty provides a thoughtful review of both the book by Martín Barea Mattos and Mark Statman's translation, along with video of their joint performance in Montevideo at the Mundial Poetico (shot by yours truly). Certain of Barea Mattos' linguistically playful poems present difficulties in both translation and performance, as does the one you'll see performed in the video there, "La (E) resultó economia de lenguaje" ("The (E) came out of an economy of language"), a poem which resulted from Martín's fascination with the Spanish E, which is not only ubiquitous in the language but also on street signage, as in the "no parking" (ie no estacionmiento) sign. The poem reverses Perec's obsession in La Disparition, as the poem plays on the multitude of Spanish words which begin with E.
Read the review here.