Hans Fallada's anti-Nazi novel sells 100,000 in three months

A Bestseller after 60 years!

Written in 1947, the novel is a chilling portrayal of extreme fear under dictatorship. It is about an ordinary Berlin couple, Otto and Anna Quangel, who in a small way stage a protest against the Nazis after their only son is killed in action in 1940 by denouncing Hitler in postcards which they leave across the city. It is also an exciting thriller about the Gestapo detective pursuing them.

Amos Oz interview

"It is not exactly the way I write stories, it's the way I think, since each time I am among people who are strangers: at a railway station, an airport or in the waiting room of a clinic. I look at people and observe them, I look at their body language, their clothes, I overhear snatches of conversations between them and I imagine their lives. It's a wonderful pastime, I recommend it to everyone to try to imagine the other, because with the help of imagination we liberate ourselves from the prison of the self into a broader conception of human nature"

Is novel just a pastime?

"The proper subject of each and every novel is the replacement of one state of affairs by another. Every such novel is a challenge to the status quo, an act of sedition that maps a revolution."

American PEN Literary Service Award Speech

"Publishing a book is like stuffing a note into a bottle and hurling it into the sea. Some bottles drown, some come safe to land, where the notes are read and then possibly cherished, or else misinterpreted, or else understood all too well by those who hate the message. You never know who your readers might be."

Yann Martel Interview

"Reality is a 100 million details. Right now where you are, if you think about it, you are surrounded by 100 million details on which you could focus your attention. Everything, from chemical, scientific details to cultural details to personal emotional details... now some of that has to be lost. Time, you know, is an eraser. It all goes. [We need] something we can hold on to. It's called history. But even history has hundreds of thousands of details and sometimes it's overwhelming and it's hard to get to. The forte of the arts, the forte of the imagination is that it can take some of those details and give them immortality. A painting, a story, a song can float across the ocean of time like a lifeboat. So you can get to the essence of an event and convey it in the form of art. It can be like a suitcase, taking the essential and preparing you for a trip to elsewhere...

Two Faces of Amitav Ghosh?

Dan David Prize Controversy
Not long ago - in March 2001, to be exact - Amitav Ghosh withdrew his book from Commonweath writer's prize on moral ground, but this time he's going to Tel Aviv on May 9 to receive the $1 million Dan David Prize in presence of Israeli President Shimon Peres despite calls from anti-Israeli intellectuals to reject the prize.

"It's surprising to have to raise Israeli colonialism with a writer whose entire oeuvre seems to us an attempt to imagine how human beings survived the depredations of colonialism. Gosh, even the Dan David judges like the way you evoke "the violent dislocations of people and regimes during the nineteenth and twentieth centuries."...What can you be thinking of? Please, think again."

"I write to destroy memory"

Jacques Rouboud In Bomb Magazine.

I write every night. I never correct, I never go back—I just go on and on. Everything I speak about is, in a way, linked to the old abandoned project. I want to say something about it, but I digress as soon as I start saying something, because I remember something else that I then begin to explain, and so on. So the structure is a bit meandering. I begin The Loop with a very old childhood image of snow in Carcassonne, where snow is very rare. I’m in my room and it’s very cold outside. At night there’s frost on the windowpane—I write and make pictures on it. So that’s the image: there’s an outer and an inner space, memory and the present. That’s the first image of the book, which at the end, returns to it.

David Mitchell Interview

"No, no, no, no, no, no. You don’t run short of imagination. You can get jaded, myopic and maybe sluggish. But imagination is...? it’s more a place actually, or a lab. Stories are infinite. You help yourself to as much as you want. You. Your kid. The human mud of your marriage. It’s all material. For that to run dry — it’s unthinkable. It would be like a fish worrying about water when it’s in the sea. The world has infinite plots for me.”

Aharon Appelfeld Interview

Q: Have you ever felt that you have exhausted this subject or period -- the period of the Holocaust -- or that you might want to write about another period of your life?

A I write about ideas. It's not memoir, it's not history, it's not psychology, it's about the human being in the world, all of the good and bad that a person encounters in life. This is what I have written 40 books about. I have written books that take place in Israel, and I have written about other periods, not just about the period of the war. Also about other times in Jewish history. I don't write history, or memoirs of the Holocaust. Of course, in the Holocaust, many horrible things happened. So many "interesting" things. Take the case of a boy living with a prostitute. This doesn't happen every day. And if I myself hadn't lived with a prostitute, I couldn't have written the book. Things like this couldn't have happened in regular times.

Jeanette Winterson on writing

So I keep on writing the story — for myself, for others — knowing that the flexibility and energy of an emerging narrative — why we always need new books and new voices — is the antidote to the rigid moribund narratives of vested interests and mass culture.

The Big Mysterious World of Roberto Bolano(3)

You get another new character in Part 3: Oscar Fate, a New York reporter who comes to Detroit to interview an ex-Black Panther, but finally shows up at Santa Teresa to cover a boxing match. Just around this time the city was convulsing with frequent and random killings of young women by a suspected serial killer. Fate gets interested and wants to write an article about it, but his editor in NewYork rejects the idea, and asks him to go back just covering the boxing assignment.

During his stay in the city, he comes in touch with a gang comprising a local reporter, a film buff and a woman called Rosa Mendez. He also meets a Mexico City reporter who is investigating the killings of women. Just after the boxing match Fate goes along with the gang who had with them a pretty woman called Rosa Almafitano, daughter of Oscar Almafitano whom we knew about in Part 1 and part 2.

Fate sniffs something foul, and suspects that Rosa is going to be killed. He salvages her, and later takes her along into US, following in her fater’s advice.

This part reads like a thriller, though with Bolano touch throughout. It however leaves me somewhat clueless about the core of theme. I have a feel that the story is derailed and loses its consistency. But of course I’m not so sure of it.

Literary lion chooses e-publishing

John Edgar Wideman, a fixture of the American literary establishment and two-time winner of the prestigious Faulkner Award for fiction, has chosen to e-publish his latest work, breaking from the traditional model he has used to successfully publish more than 20 other works.

When E-publishing is the only option

DNA, a Mumbai daily, has published an article So what if you can't publish my book after talking to some e-book authors(yours truly among them).

The Big Mysterious World of Roberto Bolano (2)

Part 2 is no continuation of Part 1 in the real sense, and you can read it as a separate text, as if Bolano begins the novel anew forgetting that he has already written the first part. Amalfitano, the Chilean professor, showed up in Part 1 as a guide to four academics in their search for the elusive writer Archimboldi, but he then didn’t attract the readers as others.

So Amalfitano deserved a 68-page treat: The part about Amalfitano. Lola, Amalfitano’s wife, also occupies a part of it. Lola is a queer woman who abandons him for the sake of a poet living in an asylum. The poet dodges her, and she goes out into the big world and wanders around aimlessly, and finally contracts AIDS.

Amalfitano comes across as a lonely, depressive figure, and when he is not taking classes in the university, he reads, ruminates, dreams, hallucinates and thinks. He may seem like a bore, but to me, he’s quite an interesting intellectual who lives his own way.

But why is this part like it is? Is Bolano loading us with details of Santa Teresa’s men and milieu before he proceeds with his story further? Is he giving us a low down on Mexican mind and spirit? Or is he at an experiment with his text? You would notice Bolano incorporates some geometrical figures in the part– not quite relevantly.Is he at this point tired of communicating in words ? Does he believe in an imperfect but spontaneous text? No doubt he is an experimentalist here, and does not care for the traditional form of a novel. But he is vibrant, funny and even hilarious, especially when he dwells upon important characters of his times, like for example, Pinochet or Boris Yeltsin.

I find this part hugely amusing, celebral and enjoyable.

Don DeLillo interview

“In the 1970s, when I started writing novels, I was a figure in the margins, and that’s where I belonged. If I’m headed back that way, that’s fine with me, because that’s always where I felt I belonged. Things changed for me in the 1980s and 1990s, but I’ve always preferred to be somewhere in the corner of a room, observing.”

The Big, Mysterious World of Roberto Bolano (1)

I hope you won't think me indiscreet, said the doctor, but I'm writing a biography of our friend and the more information I can gather on his life, tne better, wouldn't you say? Someday he'll leave here, smoothing his eyebrows, someday the Spanish public will have to recognize him as one of the greats, I don't mean they'll give him a prize,hardly, no Principe de Asturias or Cervantes for him, let alone a seat in the Academy, literary careers in Spain are for social climbers, operators, and ass kissers, if you'll pardon my expression.

.Guees who writes it? Yes, Roberto Bolano, who I've started reading at last. I'm reading two of his books simultaneously - 2666 at home, and Savage Detectives in my clinic. I find Bolano's writing totally gripping for me. I like his narrative, his style, his voice, even the matter-of-fact way he describes sex acts. His tastes totally match mine, and it's impossible to put down his writing. I find Bolano much more interesting and natural and unpretentious than Salman Rushdie or Garcia Marquez or Orhan Pamuk.

His first part of 2666 deals with four fans of Archimboldi, the reclusive German writer(of course, imagined). Pelletier, Espinoza, Morini and Norton - four different nationals associated with different universities - are in search of real Archimboldi. They roam different locations across the globe, and finally arrive at Santa Teresa based on a rumour that the great writer visited the city some time back.

In the process of this search, Petellier and Espinoza get intimate with Norton, the only lady in the group, but Morini, being handicapped and wheel-chair bound, keeps at a distance from her. Norton sleeps with both Petellier and Espinoza separately and in one occasion together. In course of time, she gets offer to marry any of them. But Norton turns down the offer, and in a strange move, marries Morini.

I don't know how long we'll last together, said Norton inn her letter. It doesn't matter to me or to Morini either(I think). We love each other and we're happy. I know the two of you will understand.

It's a delicate and wonderful love story. But this also leads Petellier and Espinoza to believe, more strongly than ever before, that Archimboldi is here and this is the closest they'll ever be to him.

A.S.Byatt interview

Q:In a recent interview, American novelist Philip Roth predicted that the novel would become extinct as a genre in 25 years at the most. As one of the most important novelist of our age, what is your opinion of his prediction and how do you foresee the future of the novel?

A:I don’t see the novel disappearing. It represents a prolonged communication from one person to one person and it uses language, still the most complicated method we have devised for talking to each other. It may well change its format -- become electronic, for instance -- but it will take a long time for it to disappear. All the blogs and Facebooks we now have are in fact evidence of our need to read and write. Commonplace novels may be replaced by these methods. Good novels will still be needed. And good writers will need to pay attention to the blogosphere and to Twitter, et al., to see what is happening to the medium.

Dumitru Tsepeneag interview

"For me, literature is the daughter of music: a bit heavy and more level headed than its mother. Literature submits to the same principles of successive perception, which allows it to build progressively. The narrative image has more dimensions than the painted image—literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they’re looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there’s room for everyone, as every reader has their own reading and vision."

Full interview

Mueller's favourite for the Nobel Peace Prize

Liu Xiaobo, Chinese Writer
In a rather unusual but warm and genuine gesture, Herta Mueller, the Nobel Laureate, writes a letter to Nobel Foundation and recommends Liu Xiaobo, the Chinese writer, for the Nobel Peace Prize.

"I, too, believe that Liu Xiaobo deserves the Nobel Peace Prize because in the face of countless threats from the Chinese regime and great risk to his life, he has fought unerringly for the freedom of the individual.

Dear Marcus Storch, I know that as a Literary Nobel laureate I am not allowed to nominate candidates for the Novel Peace Prize. But I am writing to ask you to pass on my support for Liu Xiaobo to Norway."

Martin Amis interview

".. fiction has been nuclear weapons, the Holocaust, and the gulag. But the impulse each time was literary. I’ve just written a piece about writing Time’s Arrow, and begin by quoting the often-asked question that I heard, “why did you decide to write a novel about the Holocaust?” I never did. I never decide to write any novel of mine. They emerge. “Decide” is completely the wrong word, and “about” is completely the wrong preposition. You find yourself writing around a topic, but not after thinking “someone ought to do something like this,” nothing like that."