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In this collection of nonfiction pieces, John Updike gathers his responses to nearly two hundred invitations into print, each “an opportunity to make something beautiful, to find within oneself a treasure that would otherwise remain buried.” Introductions, reviews, and humorous essays, paragraphs on New York, religion, and lust—here is “more matter” commissioned by an age that, as the author remarks in his Preface, calls for “real stuff . . . not for the obliquities and tenuosities of fiction.” Still, the novelist’s shaping hand, his gift for telling detail, can be detected in many of these literary considerations. Books by Edith Wharton, Dawn Powell, John Cheever, and Vladimir Nabokov are incisively treated, as are biographies of Isaac Newton, Abraham Lincoln, Queen Elizabeth II, and Helen Keller. As George Steiner observed, Updike writes with a “solicitous, almost tender intelligence. The critic and the poet in him . . . are at no odds with the novelist; the same sharpness of apprehension bears on the object in each of Updike’s modes.”
The fourth book in the Modern Library’s Paris Review Writers at Work series, Latin American Writers at Work is a thundering collection of interviews with some of the most important and acclaimed Latin American writers of our time. These fascinating conversations were compiled from the annals of The Paris Review and include a new, lyrical Introduction by Nobel Prize–winning author Derek Walcott.
This much-needed guide to translated literature offers readers the opportunity to hear from, learn about, and perhaps better understand our shrinking world from the perspective of insiders from many cultures and traditions. In a globalized world, knowledge about non-North American societies and cultures is a must. Contemporary World Fiction: A Guide to Literature in Translation provides an overview of the tremendous range and scope of translated world fiction available in English. In so doing, it will help readers get a sense of the vast world beyond North America that is conveyed by fiction titles from dozens of countries and language traditions. Within the guide, approximately 1,000 contemporary non-English-language fiction titles are fully annotated and thousands of others are listed. Organization is primarily by language, as language often reflects cultural cohesion better than national borders or geographies, but also by country and culture. In addition to contemporary titles, each chapter features a brief overview of earlier translated fiction from the group. The guide also provides in-depth bibliographic essays for each chapter that will enable librarians and library users to further explore the literature of numerous languages and cultural traditions.
One of the leading Latino writers working today offers a provocative autobiography interweaving his own story with the lives of three other gay Hispanic authors: Manuel Puig, Reinaldo Arenas, and Federico Garcia Lorca.
Manuel Puig & The Spider Woman tells the life story of the innovative and flamboyant novelist and playwright himself. Suzanne Jill Levine, his principal English translator, draws upon years of friendship as well as copious research and interviews in her remarkable book, the first biography of the inimitable writer. Manuel Puig (1932-1990), Argentinian author of Kiss of the Spider Woman and pioneer of high camp, stands alone in the pantheon of contemporary Latin American literature. Strongly influenced by Hollywood films of the thirties and forties, his many-layered novels and plays integrate serious fiction and popular culture, mixing political and sexual themes with B-movie scenarios. When his first two novels were published in the late 1960s, they delighted the public but were dismissed as frivolous by the leftist intellectuals of the Boom; his third novel was banned by the Peronist government for irreverence. His influence was already felt, though-even by writers who had dismissed him-and by the time the film version of Kiss of the Spider Woman became a worldwide hit, he was a renowned literary figure. Puig's way of life was as unconventional as his fiction: he spoke of himself in the female form in Spanish, renamed his friends for his favorite movie stars, referred to his young male devotees as "daughters," and, as a perennial expatriate, lived (often with his mother) everywhere from Rome to Rio de Janeiro.
The story of a woman on the edge caught in the stranglehold between her lover and his wife. When her husband is released from prison, the situation explodes.