Join us for an evening of readings by:
Allan Graubard — Gherasim Luca, Self-Shadowing Prey
Genese Grill — Robert Musil, Thought Flights
Nancy Kline — Lorand Gaspar, Earth Absolute
Allan Graubard — Ferit Edgu, Noone
Mary Shaw & François Cornilliat — Claude Mouchard, Entangled, Papers! Notes
Jason Mohaghegh — Ahmad Shamlu, Born Upon the Dark Spear
KGB Bar Sunday Night Fiction
The KGB Bar Sunday Night Fiction showcases the finest in contemporary fiction from new and emerging writers. Curated by Suzanne Dottino
85 E. 4th St., NYC
January 31, 2016
Samples of all of our books available here
ELIO PETRI RETROSPECTIVE (March 4–31)
Opens today at the FILMOTECA ESPANOLA in Madrid!
Curated by Beatriz Leal Riesco
For further info, see this press release (pdf).
In January of 2013, we published Elio Petri’s Writings on Cinema & Life.
Saturday, November 22, 2014
The poet Robert Kelly conducts his annual reading in honor of the birthday of his wife, the renowned translator Charlotte Mandell, at Bard Hall, November 22, 7pm.
Poet, fiction writer, playwright, and more, his most recent publications are Oedipus after Colonus and Other Plays(drcicerobooks) and Winter Music, texts to the photo work of Susan Quasha (T-space Editions). His collaboration with the painter Nathlie Provosty, The Color Mill, will be published Fall 2014 (Spuyten Duyvil) as will his Collected Essays, edited by Pierre Joris and Peter Cockelbergh (Contra Mundum).
Full details here: Robert Kelly Birthday Reading for Charlotte Mandell
“Natura Morta reads well against the seminal Teuton-among-the-Italians novella,Death in Venice, but where Mann’s tale of boy love, death, and discomfiting weather pits the Apollonian against the Dionysian, Winkler’s riposte is complete bacchanal. In Natura Morta, Apollo, if he appears at all, is but a coin smeared with blood, shit, and sweat as soon as it is tendered. The two novellas bear the conversation; Winkler has won an embarrassment of awards and stands almost as tall as his predecessor in countries other than this one.
Winkler has fallen victim to our market’s provincialism regarding literature in translation and we owe tremendous thanks to Adrian West and Contra Mundum Press for bringing the text to such vivid life. Natura Morta deserves hyperbolic praise. It should be studied, passed among friends, argued over, and stolen from shamelessly and thoroughly. Winkler has stripped fiction bare and approached the line that separates composition from reality itself. Delight and horror contest on every page. And what’s more, at the book’s end, after Piccoletto is hit by a fire engine, dies, and is given a funeral, in one short, final paragraph, a story, a symbol, a character, and a theme miraculously emerge. A name, a mere coordinate, becomes a man. And this man, in inconsolable, Orphic grief, wandering aimlessly among weathered tombs with a bouquet of red broom (an object from the very first image in the book), invents a new and ancient narrative by whimpering to no one that can hear: “buona notte, anima mia!” The reader is stricken, as though by the birth of a star.”
Read the full review here: William Emery, The Collagist (October 2014).
Join Nathlie Provosty, Pierre Joris, & Robert Kelly
for a book reading & launch at Red Bull Studios (NYC)
Celebrating the release of
THE COLOR MILL (Spuyten Duyvil)
& A VOICE FULL OF CITIES (Contra Mundum)
SUNDAY, NOVEMBER 2, 2014
Red Bull Studios
220 W. 18th St.
SEE VIDEO FOOTAGE OF THE EVENT HERE: Robert Kelly at Red Bull!
An excerpt from Josef Winkler’s Natura Morta, tr. by Adrian West, is in the February 15, 2014
issue of BODY: POETRY. PROSE. WORD.
… two additional fictions by Winkler were published in the past year by Contra Mundum, When the Time Comes (1998/2013) and Natura Morta: A Roman Novella (2001/2014), both translated assiduously by Adrian West, who, to use his own words (as applied to Winkler’s prose), is able to render the “painstaking … visual detail” and “attention to the musicality of phrases” found in the original German texts with a skill that honors Winkler’s writing as a “writing-against.”
Winkler eschews a traditional plot; instead, narrative fragments work together by means of repetition to complicate his vision of modern life. But single scenes can also be understood on their own terms, if one considers the images and their relation to the overall thematics of the text.
. . .
Winkler’s imagistic prose shows debts to the cinema. In one scene, Piccoletto spies a videocassette of “the film Sciuscià by Vittorio de Sica” “[a]top the apricots and white peaches” carried in a plastic bag by an anonymous woman on a streetcar. This mention of de Sica’s first major work as a director—filmed in 1946 and translated in English as Shoeshine—reveals how images in Winkler function similarly to those in a neorealist film; not only do many of the series of images contain potent mixtures of the sacred and the profane, but they overvalue the image itself (in its repetition and in its recurrence) in ways also reminiscent of auteurs such as Michelangelo Antonioni.
K. Thomas Kahn, Numero Cinq (February 2, 2014).
Click on the journal title to read the full review.