Tag Archives: And Other Stories
Sewing Toward the Sea: Marosia Castaldi’s “The Hunger of Women” as Écriture Féminine
Rosa takes up the challenge of reinventing (recentering) her writing around women—an act of creation which Cixous might refer to as écriture féminine. And while culinary themes dominate her narrative, with lists of foods and recipes often spanning several pages at a time, Rosa accomplishes this recentering using two other themes: the metaphor of the sea, and a reimagined matrilineal genealogy.
Memory and Freedom in Makenzy Orcel’s “The Emperor,” translated from French by Nathan H. Dize
Makenzy Orcel’s “The Emperor,” translated by Nathan H. Dize, is a novel of contradictions. The narrator, who has been deprived for years of his autonomy living under the control of the Emperor, a corrupt religious leader, must use his voice to fully free himself, even though he lives in a “world that brings death to freedom” (11).
Ritual sites of communion and community: Marosia Castaldi’s “The Hunger of Women,” translated from Italian by Jamie Richards
The novel is narrated from the perspective of a fifty-year-old Neapolitan widow, Rosa, whose daughter’s coming independence and plan to move to France lead to Rosa’s decision to start a restaurant in small-town Lombardy. Rosa’s restaurant becomes a source of orgiastic frenzy for the Lombard villagers, who devour her traditional Neapolitan cooking in a kind of carnal ecstasy.
Crossing a Divide: In Conversation with Translator Brian Robert Moore
I was captivated by the story, the language, the setting of “Meeting in Positano.” Goliarda Sapienza is a superb narrator and the seaside town of Positano as the backdrop of her novel lends it a mythological, Mediterranean appeal. This appeal emerges and takes hold thanks to the book’s translator, Brian Robert Moore. Moore’s voice blends beautifully with the double voice of the book’s narrator who is telling her friend’s traumatic life story.
A Whirring Blender of Colors: Paulo Scott’s “Phenotypes,” Translated from Portuguese by Daniel Hahn
The book in English translation reads as tormented and complex as it does in Portuguese. So much so that the experience of feeling breathless while reading was the same in both versions.
Breaking the Ice: On Eva Baltasar’s “Permafrost,” translated from Catalan by Julia Sanches
By Eva Dunsky You wouldn’t want to be clocked by the narrator of Eva Baltasar’s Permafrost. She has an effortless way of sussing out the thing that will devastate you most and then stating it as a pithy one-liner. “Being the bearer of important news: the only climax Mom has ever known” (50). This, after […]
What’s in a name? Claudia Hernández’s “Slash and Burn,” translated from Spanish by Julia Sanches
By Robin Munby “Maybe some of that night’s fear and fleeing had been passed on to the part of her that once gave her life” (274), the ex-guerrilla at the heart of Slash and Burn reflects, towards the end of the novel. She has returned to the place she fled to many years ago, when […]