Ruskov introduces Guimaraes da Silva as a (in his own opinion) regrettably Portuguese student on the cutting edge of medicine. Dr. Monardes sees him smoking a cigarella one day in a bar and takes him on as assistant; they are together ever after. Guimaraes is a mass of contradictions, innocent of opinion yet aware of deceit, indecisive yet committed, and above all, sure but misled. Though he is sometimes brought into the most un-scientific of adventures糖心传媒攃hasing a ghost out a church with a cigarella and a staff糖心传媒攈e nonetheless carefully records his experiences in the hopes of creating a great book like his mentor.

Ruskov presents Guimaraes糖心传媒� manuscript as an unfinished text, heading chapters in the haphazard order of 3. For Having a Good Time; 3b. The Title Will Be Thought Up in December; 3c. The Following Summer糖心传媒攏ote, there is no 3a. As the book goes on it becomes apparent that the manuscript is not so much the pieces of an unfinished text, seemingly plot-less as it is, but the pieces of an unfinished mind. Guimaraes, young and impressionable, picks his way through the good doctor糖心传媒檚 values and philosophies as he comes to better understand the people around him and executes a somewhat shady, if comical, coming of age.

In assisting with Dr. Monardes糖心传媒� medical appointments Guimaraes literally gets thrown into Nature, and yes, that糖心传媒檚 Nature with a capital N.

Is there anything more endlessly energetic, more lavishly fertile, yet crazier, than she? Of course not! If Nature put on a human face and strolled around the streets of Sevilla, she would have long since been locked up as a dangerous maniac, perhaps even burned at the stake by the Inquisition. She would be of the female sex, of course, giving birth to a child every five minutes, laughing and jumping about at the same time, and impregnated without a visible agent, as if by the wind itself. Yes, Nature is absolutely mad!

Yet she and she alone is the procreator of the world. Not the Devil or God, not some evil genius or some moronic mad scientist, much less the Good Lord, but simply a mad, all-powerful, all-purblind, accidental and chaotic Nature.

Again and again Guimaraes comes up against the force that seems to complicate everything in life. Serving everyone from King Don Felipe糖心传媒檚 son to animals to peasants, Guimaraes gets taken on joyride that is not so much about the ins and outs of medicine as it is the ins and outs of human nature.

Dr. Monardes is a humanist because it is fashionable, a slave trader because it is profitable, and a chain smoking satire of privilege and money, yet serves as Guimaraes糖心传媒� moral compass. A constant philosopher in his own way, Monardes tries to impart his wisdom on his apprentice and others, including peasants and priests. Though merciful in some instances, such as when Guimaraes and their resplendent carriage driver Jesus manage to burn down his barn, he can be capricious as well. Even in his will he displays this conflicting dual nature, going so far as to decide not to leave Guimaraes his house (糖心传媒淚糖心传媒檓 not going to leave you anything, since I糖心传媒檝e never been particularly fond of you糖心传媒�), but gives him instructions on who to bribe on the municipal council to get it anyway.

As the story progresses the manuscript becomes less a tribute to the healing power of tobacco糖心传媒攆or intestinal worms, bad breath, and waking the dead糖心传媒攁nd more a series of vignettes, flashing between Guimaraes糖心传媒� past and present and brushing against the era糖心传媒檚 most important figures: Don Felipe, Shakespeare, Cervantes, Lope de Vega and King James I. By pairing the serious with the ludicrous, Ruskov reminds us that even in its most sober moments life can be a farce.

Ludmila Ulitskaya is one of a handful of contemporary Russian writers to have a number of their works translated into English. And the others that come to mind—Pelevin, Sorokin—are all males. Over the past few years, Schocken has published The Funeral Party, Medea and Her Children, and Sonechka: A Novella and Stories.

Helps that in addition to being a first-class author, Ulitskaya is a bit of a controversial figure, as chronicled in which includes a pretty sweet quote:

“My perception of Putin as an individual is that he is quite juvenile, not very mature, and all the pictures we have of him from state television are of Putin climbing Everest or fighting a tiger or extinguishing a fire. It’s just a kind of joke, these macho games.”

Anyway, on to Julianna’s second review of the week . . .

To some in the realm of journalism and literary representation the notions of 糖心传媒減oetic license糖心传媒� and 糖心传媒減oetic truth糖心传媒� stand as two very dubious cornerstones on which to build factual novels. The shaky foundations leave all kinds of room for interpretation, embellishment and, perhaps in the wrong hands, the glorification of the undeserving, Binjamin Wilkomirki糖心传媒檚 Fragments a prime example.

Russian bestselling author Ludmila Ulitskaya, however, brings an interesting take to the table with her book Daniel Stein, Interpreter, a semi-fictitious (more on that later) account of the real life Brother Daniel who led an unconventional and in some ways unbelievable life. Ulitskaya糖心传媒檚 novel chronicles the life and ripple effects of literary creation Dieter 糖心传媒淒aniel糖心传媒� Stein, an alter ego based on the real Oswald Rufeisen糖心传媒攑riest, Gestapo, and Jew.

Presented in epistolary format, the book brings the reader through a web of documents糖心传媒攅verything from recorded 糖心传媒淭alks to Schoolchildren糖心传媒� to NKVD archives, newspaper articles, and personal letters糖心传媒攐n two twisting and intermingling chronological timelines. The first, as is a recurring theme, starts with one of Brother Daniel糖心传媒檚 acquaintances in 1985, one for whom he starts as only a rumor. On paths always winding, whether through hearsay or by accident, the people of Ulitskaya糖心传媒檚 novel and those existing in real life come to him with problems personal and profound.

Click here to read the full review.

Russian bestselling author Ludmila Ulitskaya, however, brings an interesting take to the table with her book Daniel Stein, Interpreter, a semi-fictitious (more on that later) account of the real life Brother Daniel who led an unconventional and in some ways unbelievable life. Ulitskaya糖心传媒檚 novel chronicles the life and ripple effects of literary creation Dieter 糖心传媒淒aniel糖心传媒� Stein, an alter ego based on the real Oswald Rufeisen糖心传媒攑riest, Gestapo, and Jew.

Presented in epistolary format, the book brings the reader through a web of documents糖心传媒攅verything from recorded 糖心传媒淭alks to Schoolchildren糖心传媒� to NKVD archives, newspaper articles, and personal letters糖心传媒攐n two twisting and intermingling chronological timelines. The first, as is a recurring theme, starts with one of Brother Daniel糖心传媒檚 acquaintances in 1985, one for whom he starts as only a rumor. On paths always winding, whether through hearsay or by accident, the people of Ulitskaya糖心传媒檚 novel and those existing in real life come to him with problems personal and profound.

The second timeline, starting in 1959, follows the life of the man himself. Born a Jew in Poland and given a German education, Daniel came of age during the Holocaust and hid his ethnicity from the SS by working as an interpreter for the Gestapo, translating in turn for the Germans, Belorussians and the NKVD. While working for the Germans he organized the freedom of 300 Jews from the Emsk ghetto, escaped massacres and his own executions, and after the war converted to Catholicism and became a priest. He later moved to Israel. And that糖心传媒檚 where the story really takes off.

Despite Ulitskaya糖心传媒檚 creation of some characters and documents糖心传媒攁nd it should be noted that many of the documents and testimonies in the book are in fact real糖心传媒攈er Daniel is not an exaggeration. Teaching without discrimination and at times to the dismay of his adopted Catholic Church, Brother Daniel went back to the teaching of God before the split of Judaism and Christianity. In the midst of writing a biography Ulitskaya gives an insightful and at times comical and cathartic look at tensions in and beyond Israel糖心传媒攐f faith, of lifestyles, of ecclesiastical orders and families.

With the whole of his life he raised a heap of unresolved, highly inconvenient issues which nobody talks about: the value of a life turned into mush beneath one糖心传媒檚 feet; the freedom which few people want; God for whom there is ever less room in our life; and life which has closed in on itself. Have I packaged that temptingly?

My Two Worlds was a selection a couple months back, so please to read an extended excerpt.

This is one of three Chejfec books we’ve signed on, with The Dark and The Planets forthcoming. It’s also worth noting that Sergio and Margaret will be doing a few events this fall, including one at and one at the Brooklyn Book Festival.

Julianna was a summer intern who, on the final day, told me I’ve been pronouncing her name wrong the past few months. Of course, now I can’t remember if it’s Julie-annnna or Julie-ahna. But it’s one of the two. Seriously, Julianna was a great intern, fantastic occasional poster, and quick learner, seeing that she only had to sit through two of my “why don’t you kids understand how to make logical Excel spreadsheets?!?!?!” rants. (And seriously. The future is in the hands of people who can’t organize data in spreadsheet form. Shudder.)

Here’s the opening of her review:

“In general, I know that when speaking of private and opposing worlds, one tends to refer to divided, sometimes even irreconcilable facets of personality or of the spirit, each with it corresponding secret value and in psychological, metaphysical, political or simply practical糖心传媒攅ven pathological糖心传媒攃ontent. But in my case there was neither a moral nor existential disjunctive, what was more, I saw that my two worlds weren糖心传媒檛 separated in an equal or reciprocal way; neither did one linger in the shadows or in private as the flip side of the other, the visible one, who knows which . . .”

Sergio Chefjec糖心传媒檚 novel My Two Worlds is a tale that is part stream of consciousness and part self-reflection, a surfacing and resurfacing of a narrative vacillating between the outer world and the inner one. After leaving a literary conference the narrator, of whose inner and outer worlds the reader rides the waves, takes up his habit of walking while searching for a kind of contentment that has eluded him so many times before.

Reflecting on all things from street vendors and old men to the nature of emotional and philosophical inheritance (in the form of a wristwatch that ticks backward) the narrator phases out between different kinds of consciousness. Chefjec糖心传媒檚 prose, lush with characteristic imagery, maintains its flickering style as it flows from the present circumstances to recollections of the past.

Click here to read the entire piece.

“In general, I know that when speaking of private and opposing worlds, one tends to refer to divided, sometimes even irreconcilable facets of personality or of the spirit, each with it corresponding secret value and in psychological, metaphysical, political or simply practical糖心传媒攅ven pathological糖心传媒攃ontent. But in my case there was neither a moral nor existential disjunctive, what was more, I saw that my two worlds weren糖心传媒檛 separated in an equal or reciprocal way; neither did one linger in the shadows or in private as the flip side of the other, the visible one, who knows which . . .”

Sergio Chefjec糖心传媒檚 novel My Two Worlds is a tale that is part stream of consciousness and part self-reflection, a surfacing and resurfacing of a narrative vacillating between the outer world and the inner one. After leaving a literary conference the narrator, of whose inner and outer worlds the reader rides the waves, takes up his habit of walking while searching for a kind of contentment that has eluded him so many times before.

Reflecting on all things from street vendors and old men to the nature of emotional and philosophical inheritance (in the form of a wristwatch that ticks backward) the narrator phases out between different kinds of consciousness. Chefjec糖心传媒檚 prose, lush with characteristic imagery, maintains its flickering style as it flows from the present circumstances to recollections of the past.

At first frustrated by his difficulty transposing a map糖心传媒檚 two-dimensional representations to the three-dimensional world, the narrator eventually arrives at the city park he has been searching for. Coming up on another birthday and in between novels糖心传媒攖he last of which an anonymous email tells him is doing poorly糖心传媒攖he narrator sets out to find a sanctuary and further than that, a sense of self.

Trying to blend in and acting almost suspiciously casual, he seeks to become one of the denizens of the park, to be one of its natural and habitual citizens though it is his first time in the Brazilian city. As the narrator further weaves himself into the park糖心传媒檚 framework糖心传媒攎imicking his bench partner, speculating on the nature of swans, faking familiarity in an interaction with an elderly woman糖心传媒攖he two halves of his experience begin to come together. The reconciliation is not within the narrator糖心传媒檚 adjustment to the park around him, but as it becomes clear in the landscape糖心传媒檚 mirroring of his memories and impressions the narrator reconciles the gaps between his inner and outer perceptions, one no longer separate from the other.

Chefjec糖心传媒檚 setting of the park situates his tale in a world within a world, with the quiet nature scenes and somnolent people sheltered from the city outside. In a subtle balancing act My Two Worlds conjures the art of mimicking itself and is an impressive foray into a new contemporary literary style.

Julianna’s been posting here for the past few months during her summer internship. She’s currently studying at Hobart & William Smith, and likes to tango.

This book isn’t exactly the sort of book we usually review here, but the whole Stieg Larsson phenomenon sure is something. And Eva Gabrielsson’s situation is pretty interesting. (See Publishing Perspectives piece for more info about the boo.)

The book itself is meant to be a “biography“糖心传媒攖ake that as you will糖心传媒攐f the late author糖心传媒檚 long time partner Eva Gabrielsson, whom he met at age nineteen (she was eighteen), and stayed with for over 30 years. Eva chronicles the ups and downs of their life together, the different political movements and counter movements the couple was involved in, the roots and creation of the Millennium Trilogy, and their reasons for avoiding marriage. The last part of the book is also devoted to Eva糖心传媒檚 loss of control over Stieg糖心传媒檚 legacy and the downward spiral of his estate.

Gabrielsson writes “This book . . . I wish I hadn糖心传媒檛 had to write it. It talks about Stieg, and our life together, but also about my life without him.” Reviews call the book “poignant,” “romantic,” and “touching”; and it is. There are moments of great accomplishment and personal danger mixed with the little everyday couples糖心传媒� rituals that keep a relationship alive. But there is, of course, another tension.

The book admits early on, in both a foreword by Marie-Francoise Colombani and in the first chapter, that Eva is “today fighting to obtain control over Larsson糖心传媒檚 literary estate.” An estate that is according to some sources worth $15 million dollars or more (over 97 million Swedish kronos), the sixth largest estate attributed to a dead celebrity after Michael Jackson, Elvis Presley, JRR Tolkien, Charles Schulz, and John Lennon. But that is not to say that the book does not have its moments of emotion and poignancy.

Click here to read the entire review.

And now that I have established my unbiased-ly biased position, I have some things to say about Eva Garbrielsson糖心传媒檚 “There Are things I want you to know” About Stieg Larsson and Me.

The book itself is meant to be a “biography“糖心传媒攖ake that as you will糖心传媒攐f the late author糖心传媒檚 long time partner Eva Gabrielsson, whom he met at age nineteen (she was eighteen), and stayed with for over 30 years. Eva chronicles the ups and downs of their life together, the different political movements and counter movements the couple was involved in, the roots and creation of the Millennium Trilogy, and their reasons for avoiding marriage. The last part of the book is also devoted to Eva糖心传媒檚 loss of control over Stieg糖心传媒檚 legacy and the downward spiral of his estate.

Gabrielsson writes “This book . . . I wish I hadn糖心传媒檛 had to write it. It talks about Stieg, and our life together, but also about my life without him.” Reviews call the book “poignant,” “romantic,” and “touching”; and it is. There are moments of great accomplishment and personal danger mixed with the little everyday couples糖心传媒� rituals that keep a relationship alive. But there is, of course, another tension.

The book admits early on, in both a foreword by Marie-Francoise Colombani and in the first chapter, that Eva is “today fighting to obtain control over Larsson糖心传媒檚 literary estate.” An estate that is according to some sources worth $15 million dollars or more (over 97 million Swedish kronos), the sixth largest estate attributed to a dead celebrity after Michael Jackson, Elvis Presley, JRR Tolkien, Charles Schulz, and John Lennon. But that is not to say that the book does not have its moments of emotion and poignancy.

I was an animal acting on instinct糖心传媒攁 protective measure that kept anyone harmful to me a t a distance. I went through life like a zombie. Every morning I woke up in tears, although my nights were dreamless. Absolute darkness. The animal in me was restless and kept me constantly in motion. I did a lot of walking, but never alone, because I no longer dared to go out on my own. Not recognizing the woman I糖心传媒檇 become, I had no idea what she might be capable of doing, to myself or to the people I might meet. Like a hunted beast, I fed only on little things picked up in passing: dates, nuts, fruits.

All the while Erland kept saying that he didn糖心传媒檛 want any part of Stieg糖心传媒檚 estate.

While the potential for gold digging and a character assassination of the Larsson family is there it is, as Eva promises, not the focus of the book. Short chapters further break down into vignettes on the couple糖心传媒檚 life together and their experiences both political and personal, snapshots of 32 years, including the daily threats and phone calls from extremist groups retaliating against Stieg糖心传媒檚 investigative journalism writing. Within this the writing is at some times fantastically picturesque and on point and at others of absolutely no relevance.

The writing itself has a kind of choppy, almost stilted quality. For someone who apparently spent many years translating magazine articles as well as doing editorial work, Eva糖心传媒檚 work is somewhat unpolished and, in a few spots, clearly unedited. Whether this is due to a flat out refusal to make any changes, as some rumors have suggested, or simply Eva糖心传媒檚 style, it is for the reader to decide.

And I suppose, in the act of reviewing this, that if I were a more suspicious person I would note that her writing becomes more fluid, coherent, and lyrical糖心传媒攁nd readable糖心传媒攊n the second half of the book where she focuses on the creation of the Trilogy and her eventual loss of control over the Stieg Larsson estate. But that might be my small inner cynic talking.

However, it must be said that never in the book does Eva Gabrielsson write of a time when she asked for control of the estate糖心传媒檚 money, only its intellectual property rights to protect, as she says, Stieg糖心传媒檚 vision and his work糖心传媒檚 integrity. Nor does she ask for money outright to continue her crusade, although a short chapter is devoted to her website which has stopped taking donations as of January 10, 2011.

Bottom line, while “There Are things I want you to know” About Stieg Larsson and Me is no Millennium Trilogy novel (I am guessing) it will be an interesting read for book fans and people who are interested in Stieg Larsson糖心传媒檚 life. Information is included on the backgrounds of the series糖心传媒� characters and the real life inspiration for the plots, places, and names as well as some information on the unpublished fourth novel. If the book is perhaps not a great piece of writing, it is at least an intriguing read.

The Ingeborg Bachmann Prize, one of the most prestigious that the Festival awards, was given this year to for her Im Kessel (In the Kettle). The prize, named after famed Austrian writer and playwright Ingeborg Bachmann, was awarded by the provincial capital of Klagenfurt for EUR 25,000.

Also taking home an award was with the for his Spur einer Dorfgeschichte (Trace of a Village History). The Kelag Prize was donated by the K盲rntner Elektrizit盲ts und Aktiengesellschaft (a local electric company) and worth a handsome EUR 10,000.

As well as the the K盲rntner Elektrizit盲ts und Aktiengesellschaft, another corporate sponsor also awarded a prize. 3sat, a German-Austrian cultural broadcasting company, gave its to for Gro脽e Ferien (Long Holidays) and a cash prize of EUR 7500.

Beginning this year at the Festival糖心传媒檚 36th inception VILLIglas sponsored the a new annual prize, the VILLI Audience Award. The award, donated by VILLIglas owner Phillip Daniel Merckle, was voted on by the public exclusively through the internet and given to for his 9to5 Hardcore.

The Festival, formerly known as the Ingeborg Bachmann Prize, takes place yearly in Klagenfurt, Austria as a publicized event and since 2006 has been endowed yearly with EUR 25,000 in prize money. It is currently one of the most important awards for German literature. Submissions to the competition must be previously unpublished and have their original language as German, and during the judging process competitors must convince the public, the jury and its auditors of the quality of their pieces.

As part of this year糖心传媒檚 Festival, Leif Randt was awarded the so named after one of the Festival糖心传媒檚 founders, for his work which has since been published.Schimmernder Dunst tuber CobyCounty has since been accepted by the BerlinVerlag publishing house and will be out in print in August. The book is Randt糖心传媒檚 second novel to be published and follows his promising first _Leuchtspielhaus (Luminous Playhouse) which appeared in 2009 and won the Nicolas Born Debut Prize.

There are some pretty wild support groups out there. Acne support groups, jealousy support groups, lactose intolerance and tooth grinding. (And yes, these really do exist. I looked them up.) But wait, it gets better. What if you made a support group, more of a club really, for kids who have lost their fathers? That sounds pretty normal.

Except in this club members talk about their fathers as if they are still here, less as figments of revived memories and more a society of paternal imaginary friends. Yeah, this was a new one for me too.

Helen Mitsios introduces Tomoyuki Hoshino in her second anthology of Japanese literature Digital Geishas and Talking Frogs, a renewed and reworked edition of her New Japanese Voices: The Best Contemporary Fiction from Japan of twenty years ago. Mitsios糖心传媒檚 collection, like the others in the Asian Anthology series, was recently published by and is just now bringing new literature into English translation.

Hoshino糖心传媒檚 story 糖心传媒淭he No Fathers Club糖心传媒� centers around a small group of people who are, in the absence of purpose and two-parent homes, looking for a connection. 糖心传媒淲e shared the problems and conflicts we had with our faux fathers and discussed together strategies for dealing with them. I told everyone how my father was perhaps too understanding, and that while it was nice that he let me do as I liked, I sometimes wondered if he really just didn糖心传媒檛 care.糖心传媒�

While the whining and personal issues seem like things that ought to be listed as non-problems, the 糖心传媒渇athers糖心传媒� in the club assume places in their world that are surprisingly real, even daring to leave a bruise and a split lip on one member for talk of not going to college. The club eventually shrinks to the narrator, Joe, and his friend Kurumi who he begins dating, but their time together is haunted (so to speak) by their paternal alter egos. Truly it is all they have in common. In the end, Hoshino explores how some relationships only last as long as the illusions do.

Aside from the support groups, Digital Geishas takes other interesting turns and shouldn糖心传媒檛 be turned aside for some of its more unconventional content (as if that wasn糖心传媒檛 reason to read it enough). Would you give your spouse permission to have month long affair? If you did, would you really mean it? Noboru Tsujihara brings to the table 糖心传媒淢y Slightly Crooked Brooch,糖心传媒� a story that plays on elements that are part fairytale and part urban legend. Ry艒, a married man, has fallen in love. The proposal was all so very reasonable.

糖心传媒淪he was a college student, he told her, just getting ready to graduate. Once she was finished with school, her parents had arranged for her to return to Matsuyama on the island Shikoku, where she was to get married. They糖心传媒檇 already screened the groom and gone through with the engagement ceremony last fall. She and Ry艒 had decided a clean break would be best. But until then she wanted to live together during her final month of freedom, so he had agreed. It糖心传媒檚 what they both wanted, he said.糖心传媒�

After some compromise, Ry艒糖心传媒檚 wife Mizue agrees. 糖心传媒淗e would be gone for a month. Not a day, hour, even a minute more. That was his promise.糖心传媒�

Over the course of the month Maiko and Ry艒 make the most of it, carefully avoiding the countdown to their final days; a husband with a different wife. Meanwhile, Mizue makes a change in her own behavior. A new apartment, a cell phone, an occupation of sorts. A jealous wife or something more?

Mitsios糖心传媒檚 anthology takes the best of Japanese contemporary issues and writers today and brings them to English readers. Be it children of novelists or yes, talking frogs, Digital Geishas is good fodder for the reading inclined. Like the Cheng and Tsui糖心传媒檚 other Asian works, the collection does not disappoint.