Wednesday, March 9, 2022

Pratik WINTER ISSUE HIGHLIGHT : ROBERT SCOTTO ON 'Novels in the year of Covid'

 

ROBERT SCOTTO

 

Novels in the year of Covid

 

Every year a sizable number of new novels are published in English, some by laureates, some by veterans, some by sophomores and some by neophytes. Despite COVID, 2021 was no different, writers, after all, keeping to their own calendars and working, despite lockdowns, in the privacy of their own rooms. Rather than try to summarize an enormous number of books, or even give a sense of trends, I will concentrate instead on fiction from writers with established credentials, several of whom are among my personal favorites. I strongly recommend, therefore, the following, an admittedly selective and idiosyncratic group, in alphabetical order:

RACHEL CUSK

Second Place



Ms. Cusk moves beyond her award winning Outline trilogy with a work so understated that it took me some time to realize how profound it was. Not until the afterword do we get a hint about place and time, but that information is unnecessary when it finally appears because the novel is more an enigmatic parable than a realistic recreation of experience. The narrator, a woman who is married to a man who adores her, is looking for something beyond her life at the edge of a marsh, so the couple construct an outbuilding, a second place, to serve as a kind of miniature artist’s colony. A nameless, famous painter in the twilight of his career whom she has admired is invited and the sexual tension mounts as his attempt to paint her in the nude becomes both exotic and troublesome. I won’t try to untangle the mysteries because they are the essence of the book: the unknown Jeffers she addresses her reminisces to, the magical painting the artist produces before he leaves and becomes famous once more before his death, the nature of the relationship between husband and wife: Cusk creates a magical alternate universe that you experience rather than explain.

ANTHONY DOERR CLOUD

Cuckoo Land

 


I thought Mr. Doerr’s first novel, All the Light We Cannot See , a bit over written for its plot, but he has certainly shown with this, his second, that his sentences have range and power, evoking three quite different time periods peopled by five carefully realized main characters and many interesting minor ones. The central historical events are, roughly, the fall of Byzantium to the Turks, the Korean War and a futuristic and incredibly detailed rendering of a colony star ship that ultimately proves to be earthbound for decades. Two young people from different backgrounds, she Greek Christian, he Balkan Moslem, through a serious of extraordinary events that take place during the siege and capitulation of Constantinople in 1443, find each other and overcome the obstacles of linguistic, religious and cultural differences to settle into a lifelong relationship. Two men, one elderly, a veteran of the Korean War, and the other, young, disturbed and brilliant, come together in present day Idaho during an act of protest that goes awry. The two story lines 600 years apart are tied together by the translation by the veteran of an ancient text, which gives the novel its title, and which had been saved and preserved by the couple in Byzantium. The third narrative thread seems at first unrelated to the other two, taking place in the future, but the Latin book plays a part in revealing the lie the inhabitants are living in their false spaceship. Although the plot seems, when deconstructed, utterly enigmatic, the 700 plus pages of the novel are consistently interesting and evocative. The central mystery is the book from the distant past that touches every character deeply.

KAZUO ISHIGURO

Klara and the Sun


The only Nobel laureate on the list, Mr. Ishiguro continues to surprise me with his adventurous sorties into speculative fiction, anchored in prose of unremitting realism and precision. The typical Ishiguro sentence renders a scene in such detail that we suspend our disbelief in the strange story involving an android built to be a companion for a child. Unfortunately for Klara, once her charge reaches maturity she is no longer needed, so, powered by sunlight, she is permitted to waste away. As in his previous foray into what was once called hard science fiction, Never Let Me Go, no other writer I am aware of invests his protagonists, who are, after all, machines or surrogates bred to furnish organs for a more privileged class, with such empathy. As Klara fades in the dying daylight, taking in her last rays of energy, this reader feels as if he were watching a living, breathing entity lose her soul.

RICHARD POWERS

Bewilderment


I am bewildered that Mr. Powers has somehow traveled under the radar of the glitterati even though he produces one stunningly original novel after another. His latest is no exception: the root word of bewilderment is wild, something Powers always is, however much he creates credible people living in the places and through the strange circumstances they encounter. Here we see themes we associate with his other novels braided with a tighter focus and economy: the environmental crisis, scientific exploration that edges into the mystical, a child disturbed by the loss of his mother in an accident as well as what is happening to the natural world, and an astrobiologist father trying to navigate the intensely personal and speculative arrangements that life offers; these include invented exoplanets and decoded  neurofeedback experiments (and Powers makes these complex thought experiments comprehensible) as he attempts to normalize the boy’s life. Bewilderment  is shorter and more intense than The Overstory, his foray into extreme environmentalism, but so packed with information and family tragedy that it seems to be longer.

GARY SHTEYNGART

Our Country Friends


The only real COVID novel of any merit I have encountered, Mr. Shteyngart’s reimagining of Boccaccio’s Decameron  is both funny, as all of his previous efforts have been, and in its own way profound, a microcosm that covers more social intricacies and shibboleths than most contemporary fiction. Seven adults and one child escape plague ridden New York for the dacha to the north owned by a Russian writer and his wife, a psychiatrist. Their daughter, adopted from a northern Chinese orphanage, is clearly gifted if also clearly on the spectrum. Their friends, all but one of Asian origin, frolic, recollect, and fall in and out of love as the world they left behind goes to the dogs. The comedy ends with one of them dying, from the virus they tried to avoid, in an extended fugue which touchingly blends past, present and the dreams that could have been but never were.




I recommend, with some reservation, these:


T. C. BOYLE

Talk to Me


Mr. Boyle does not write boring books, and his gift for comedy as well as his penchant for daring to explore subjects and people most writers avoid can both be found in this evisceration of a failed scientific experiment to raise a chimpanzee as a human child. Much of the action involves the stupidity and greed of Nim Chimsky’s handlers, who use  the creature as a career boosting pawn, and the young woman who really mothers and teaches him and ultimately tries, unsuccessfully, to rescue him from the horrible fate of being turned over to a biotechnical institute as an experimental test case. The surface is so dazzling that we suspend out credibility at times simply to enjoy the depictions of inter species interaction and we forgive the cartoonish characterization of the exploiters because we come to believe, like Aimee Vuillard, the heroine, that the chimp is a conscious presence who should be saved.

 


JONATHAN FRANZEN

Crossroads


Mr. Franzen has been over praised and under appreciated because he has dared to write novels that are fully accessible, non- experimental and comfortably earthbound and yet that aspire to be what he called early in his career “art fiction”. Crossroads  is the first volume of a projected trilogy which, when completed, might be close to 2000 pages, a domestic study of a minister and his family over the course of a couple of years in the early 1970s in suburban Chicago, with extended flashbacks. You have to give him credit for evoking a complex social scene with religion at the thematic center and replete with a good deal of sex, a dangerous intersection experienced by the characters as well as the reader. He pulls it off with grace and clarity even if several of the protagonists in the nuclear family are not fully realized and their stories not always galvanizing. Perhaps the consequent volumes will not only fill in gaps but also, by bringing us up to the present day, enrich the barely touched upon political and social issues of the times.

Interestingly, the two British novels are relatively short and written in an unadorned prose while the American novels are longer, fuller, funnier and more variegated, several running to over 600 pages. I am not quite sure why this is so and I do not want to fall into the cliché trap. But the focus of Cusk and Ishiguro is very different from the multi-plotted efforts of Doerr, Franzen and Shteyngart, where various characters occupy the narrative at various times, while the sometimes feverish prose of Boyle and Powers operates at different levels of realism, even though, like Ishiguro, they are speculative rather than naturalistic in intent. Whether you prefer understatement or elaborate artifice, realism or imaginative invention, these seven novels should satisfy your search for novelty as well as charm your aesthetic sensibilities.




Former professor of English at Baruch College, CUNY, until his retirement, Robert Scotto’s previous publications include a Critical Edition of Catch-22, a book on the contemporary American novel and essays on Walter Pater, James Joyce and other major and minor nineteenth and twentieth century writers. The first edition of his biography, Moondog, won the 2008 ARSC Award for Best Research in Recorded Classical Music and the Independent Publisher Book Awards 2008 bronze medal for biography. He has published two poetry collections,  most recent being, Imagined Secrets (Nirala, 2019).



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Monday, February 28, 2022

Announcing Call for Submission, Pratik's Australian Poetry Edition, Fire and Rain – co-curated and supported by APWT, Australian Poets Writers and Translators collaboration

 Announcing CALL FOR SUBMISSIONS,

Pratik's Australian Poetry Edition, Fire and Rain

– co-curated and supported by APWT, Australian Poets Writers and Translators collaboration 

+ $500 AUD Cash Prize  https://www.apwriters.org




Asia Pacific Writers and Translators (APWT) and Pratik: A Magazine of Contemporary Writing invite submissions for Fire and Rain – a special edition of the magazine focused on Australian poetry. The theme acts as a kicking off point and is open to interpretation – we seek previously unpublished poetry that evokes a sense of Australia – either geographically, spiritually, politically, linguistically,culturally,or otherwise. This edition celebrates the diversity of Australian poetic perspectives and voices – we welcome submissions from both established and emerging poets, indigenous writers and LGBTIQ+ community. We are open to experimental forms and multiple submissions are permitted. Previous well received special editions of Pratik magazine have focused on writing from Ireland, Los Angeles and Nepal amongst others and we foresee Fire and Rain will contribute to this ongoing international conversation with vibrant new work from Australian poets. Pratik published quarterly is edited by the world-renowned Himalayan poet, Yuyutsu Sharma in Kathmandu and has become a significant international platform of creative writing. You can access previous editions of Pratik here http://pratikmagazine.blogspot.comand
it is also available for purchase via Amazon.

Readers for this edition will be editor of Pratik Yuyutsu Sharma, Executive Director of APWT and author Dr Sally Breen and celebrated Australian poet Jennifer Mackenzie. One entry selected by the readers will be awarded the $500 AUD cash prize. Submission is open to financial members of APWT – not a member? Join here: https://www.apwriters.org/become-a-member/
Visit our Submittable Page to enter: https://drunkenboat.submittable.com/submit
Submission close: April 1st 2022
Submission Guidelines
• Submissions are open to emerging and established Australian poets who are financial members of Asia Pacific Writers and Translators. New members are welcome to submit – you can join APWT via the following link: https://www.apwriters.org/become-a-member/
• Unpublished poems only.
• We accept simultaneous submissions but please notify us if your work is picked up elsewhere.
• No more than five poems may be submitted. There is no line-limit. Poems may be any length, any style, but must feature reference to some aspect of Australia as identified in the blurb.
• Multiple submissions are allowed, but each new submission requires a new fee.
• Please include a brief cover note with your professional bio and a brief introduction via the submittable page where indicated.
• Submission fee of $5 USD.
• Deadline is midnight April 1st, 2022.
• The decision of the readers is final and no correspondence will be entered into regarding work submitted. If you have a general query about the callthen please feel free to contact admin@apwriters.com
Social Media Call for Subs Version
Fire and Rain – Call for Submissions
Fire and Rain – Pratik: A Magazine of Contemporary Writing Australian Poetry Edition co-curated and supported by APWT + $500 AUD cash prize for winning entry
Asia Pacific Writers and Translators (APWT) and Pratik: A Magazine of Contemporary Writing invite submissions for Fire and Rain – a special edition of the magazine focused on Australian poetry. The theme acts as a kicking off point and is open to interpretation – we seek previously unpublished poetry that evokes a sense of Australia – either geographically, spiritually, politically, linguistically, culturally, or otherwise. This edition celebrates the diversity of Australian poetic perspectives and voices – we welcome submissions from both established and emerging poets, indigenous writers and LGBTIQ+ community. We are open to experimental forms and multiple submissions are permitted. Pratik published quarterly is edited by the world-renowned Himalayan poet, Yuyutsu Sharma in Kathmandu and has become a significant international platform of creative writing. You can read more about the call and enter via our Submittable Pagehttps://drunkenboat.submittable.com/submitSubmission is open to financial members of APWT – not a member? Join here: https://www.apwriters.org/become-a-member/Submissions
close on April 1st 2022


PRATIK LA ISSUE HIGHLIGHT: LAVINA BLOSSOM's Poem, "After James Wright"

 

LAVINA BLOSSOM

After James Wright

                             based on last lines of Collected Poems

 


Birds fly at dusk

between stars, hiding.

The shore sings

of twisted iron,

creep and drift.

 

A white feather

waves through

the hedge, slips

down quick.

 

The beautiful

white nakedness

of snow.

 

 

Lavina Blossom is a painter and mixed media artist as well as a poet.  Her poems have appeared in various journals, including 3Elements Review, Kansas Quarterly, The Literary Review, The Paris Review, The Innisfree Poetry Journal, Poemeleon, Common Ground Review, and Ekphrastic Review.  She is an Editor of Poetry for Inlandia:  a Literary Journey.  

 

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Saturday, February 26, 2022

FROM PRATIK ARCHIVE : Two Poems from Ukraine by VASYL HOLOBORODKO

 

 

VASYL HOLOBORODKO

Two Poems from Ukraine 

 Summer/Fall 2018 Double Issue


The Dragon Hillforts

 

All over Ukraine,

around every town and village

high walls jut from the landscape,

legend calls them serpents.

 

Pottery historians – archaeologists – study

where they belong -

even radiocarbon dating

can’t specify their age;

if we cannot determine a date –

if we cannot fathom the age of the hillforts,

they must have been here

as long as the Ukrainians.

 

Those walls are called serpents because

once upon a time

a dragon was harnessed to a plough

by the holy blacksmiths Kuzma and Demian

this tillage jutted into the Serpent’s Wall.

What else could have ploughed these forts but a dragon!

 

Epiphany:

a dragon – no-dragon –

a symbol, by definition, of:

“someone who possesses great power”.

 

The hillforts were built to protect

against the cold creeping in from the forest,

so some people believe,

or for protection against

raw meat eaters from the forest,

so others believe,

or for protection against

invaders from the forest,

so the third party believes.

 

But no, dragon ploughing did not raise those hillforts,

our grandfathers wrapped them

around every town and village

to protect the dragon

from the cold given off by the forest,

from the raw meat eaters of the forest,

from the invaders lurking in the forest.

 

Epiphany:

dragon – no-dragon –– 

a symbol, by definition, of:

“someone who wields great power

whose purpose is to observe our Custom.”

 

So rising all over Ukraine,

encircling every town and village

lofty hillforts,

dragon hillforts,

still protect our Dragon,

still protect our Custom.

 

Every year, the hillforts grow taller,

not because we, with every hatful, build them up little by little.

but because the graves of warriors force them upward,

defenders of our Dragon,

defenders of our Custom

buried in the hillforts,

around each town and village.

When I die,

bury me in a dragon hillfort,

so that the dragon hillforts around our Ukraine

grow taller by the thickness of the sheet of paper

on which this poem was written.

 

 

Translated from the Ukrainian by Svetlana Lavochkina

 

 

2.

I Pick Up My Footprints

 

I know that from here you cannot escape by plane –

you have to be able to fly on your own.

Cats in the house, so many cats,

gathered from the whole neighborhood

(how did they catch a whiff of my departure?)

not our cats but feral cats,

although there is no such a thing as a cat gone wild.

Cats as a warning and threat to my flight

as a bird,

they notice a red spot on my chest

like a linnet’s,

so I’m forced to take flight in the form of a dandelion seed:

I leave the house in search of wide open spaces,

past my garden and into the street

and float toward

a direction very remote –

now the wind gusts will

carry me away, away!

 

Translated from the Ukrainian by Svetlana Lavochkina

Vasyl Holoborodko is a living classic, a National Shevchenko Award winner and the pioneer of blank verse in Ukrainian poetry. His work is strongly influenced by Ukrainian folklore and symbolism.

 

Born and educated in Eastern Ukraine, Svetlana Lavochkina (Gitin) is a poet, novelist and translator of Ukrainian and Russian poetry. She was the prize-winner in the Paris Literary Prize 2013 and Tibor and Jones Pageturner Prize London, 2015. Svetlana currently lives in Germany with her husband and two sons.   

Svetlana Lavochkina


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Friday, February 25, 2022

PRATIK'S CURRENT ISSUE HIGHLIGHT : BASQUE POET MIREN AGUR MEABE'S Poem, "The Geography Of Silence"

 

MIREN AGUR MEABE

The Geography Of Silence

 


These are the frontiers of my silence:

the fridge, the sink and the oven to the north,

the cupboard and front door to the east,

the junk room to the west,

and the calendar of Basque landscapes to the south.

 

I grow in the centre, a diaphanous tree on a floor tile.

Under the tile an abyss opens up,

the orphan signs of language a de-structure of winter flowers.

They echo a yarn, a painter’s whim.

If the air pollinates my head,

a root might surface and climb up my lap,

seeking my breast to suckle.

 

Morning silence of the kitchen.

The geography of fecundity.

 

Miren Agur Meabe (Lekeitio, 1962), writes for both adult and child-youth audiences. She is also dedicated to literary translation and has participated in numerous international meetings. Throughout her career, she has received the Critics’ Prize for the books, Azalaren kodea (The skin code) and Bitsa eskuetan (Foam in the hands), as well as the Euskadi Prize for Youth Literature on three occasions. Her novel Kristalezko begi bat (A glass eye) and the volume of short stories Hezurren erretura (Burning of bones) were warmly received by critics and the public. She will soon publish his fifth collection of poems. She has translated part of the work of the Iranian Forough Farrokhzad and the Rwandan novelist Skolastique Mukasonga into Basque.


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PRATIK SPECIAL LA ISSUE HIGHLIGHT: ARTHUR VOGELSANG'S Poem, "Jr. High"


ARTHUR VOGELSANG

Jr. High

 


When it was called that I was there,

Studying, my favorite thing after ball

Where I was awarded one of three

Best athletes.  Because I was smart

It was a very good school and neighborhood and a

Black doctor moved in with a black son 13

And naturally in the house other blacks.

We didn’t call them that then.

Bobby Kennedy hadn’t yet called them

Negroes because he wasn’t Bobby Kennedy.

Since I liked the son, 13, and thought

I was an untouchable star, brain and body,

I talked a lot to the bright dark kid and got in a little trouble.

It wasn’t enough trouble for my parents to say

Look, I wouldn’t hurt one but I wouldn’t

Want to live near them, when mom and dad came to school

To see the vice-principal about me.  I persisted. I sat

Next to him in assembly, the seat next to him

Empty though there were standees

Because the entire school was required to be informed about

Nuclear weapons.  We both already knew that stuff and

Whispered and laughed about the speaker.

This persistence got me cornered in the men’s room

Where I was hit and pushed until I did their bidding

Which was to say the word we can’t say now.      

 

 

 

Among  Arthur Vogelsang’s seven books are Orbit from the Pitt Poetry Series, Cities and Towns, which received the Juniper Prize, and Twentieth Century Women, which was chosen by John Ashbery for the Contemporary Poetry Series.

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Friday, February 18, 2022

PRATIK WINTER ISSUE HIGHLIGHT : CELEBRATED BASQUE POET KOLDO IZAGIRRE's POEM, "Late Arrival Romantic"

KOLDO IZAGIRRE

Late Arrival Romantic

 


Welcome to the tomb of the immortal

come in, don’t be afraid

you who come in search of truth

uncover your eyes

rest your hand on these frozen walls

there are not theologians here

the lizard by the gate assured me

 

the devil asks me to wait

we’re soon to read the mass

which will cover Rome in ash

but I’m bored

of waving these useless wings

instead of breaking those windows

the snake on the altar told

 

he only loves sensible utopias

not to pay attention to the north

to carry on sharpening the blade

and take silence’s advice

without waiting for the dust’s revolt

the eagles on the capitals advised me

talking through their wound-up fishtails

 

listen to the movement of the stars

a total eclipse of sadness is coming

the time when midday and midnight come together

those that love each other

what they will be able to love

the toad at the font whispered to me

it’ll be frightening, you’re better off here

the world won’t come in here

 

and you, what will you be then

begging for a part

burying treasures

believing in new parables

what, what, what

the winged dogs barked at me

 

get out of here

the bell-tower’s tawny owl laughed

in the wind which makes stones

 

 

Translated from the Basque by Aritz Branton

 

 

Koldo Izagirre (born 21 June 1953 in Pasaia, Gipuzkoa)  remains a major Basque writer who has worked in several genres of literature, including poetry, novels, and tales. He has translated works by classic authors into other languages and has produced journal and magazine articles, and written television and film scripts. In 1978, he founded the literature magazine Oh! Euzkadi  with Ramon Saizarbitoria and other writers.

 

 

 

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