The Things We Lose, The Things We Leave Behind by Billy O’Callaghan

thingswelose What to say about Things we Lose (New Island Press, 228 pages) a book that stunned me, time and again. I might call Billy O’Callaghan a “writer’s writer,” if that term did not immediately consign a writer to obscurity. (In the USA, Richard Yates is often referred to as a “writer’s writer,” and until the movie Revolutionary Road, few people, apart from those who taught in MFA programs, knew his name.)

I would like to invent a new way to describe what I think Billy O’Callaghan will leave as his literary legacy. I would call him a “human’s human” (with a pen) or an “explorer’s explorer” of our dreams. I would call him a poet of the spirit. Or, maybe, to use a more prosaic analogy, he is a housekeeper who assiduously dusts the cluttered rooms we keep closed, even from our conscious minds. Continue reading

Leo Tolstoy’s Anna Karenina, translated by Miriam Schwartz

annakareninaSo here we have one more translation into English of Anna Karenina (Yale University Press, 754 pages) the greatest novel ever written in the history of world literature (my opinion, but not only mine). The publicity announcements and blurbs make big claims for this book. Marian Schwartz, a renowned translator with extensive experience, “embraces Tolstoy’s unusual style—she is the first English language translator ever to do so.” Hmm. “Clearly a labor of love—over a decade in the making—this translation is the most accurate Tolstoy we have in English.” Hmm. Marian Schwartz “bequeaths us not a translation at all but Tolstoy’s English original.” Huh?

Such grandiose blurbery places quite a burden on the shoulders of the translated text. Let’s see if the text can bear such a heavy weight. Continue reading

Cocoa Almond Darling by Jeffra Hays

cocoaalmonddarlingCocoa Almond Darling (Kindle, 126 pages), by Jeffra Hays, is a rather intense, deliberately-paced story about a tailor Mr. Benton, his assistant Milly, and their daughter Nicky. The main action seems to be set in the 1960s, give or take a decade, and the story is told entirely from Milly’s perspective. The novel’s limited first-person narration is masterfully rendered by Hays, who allows the reader to experience a degree of empathy not possible except through the lens of skillful realist fiction. The language of the novel is plain. The narrator is not a gifted poet, nor especially clever or funny.  She is not given to much analysis, but she does pay attention to detail, and she is sometimes capable of rather admirable self-awareness and honesty. Continue reading