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Grateful today for the small presses, the independent presses, the non-profit, translation presses, & university presses. These are the presses that make writing about literature immensely pleasurable for me, & without which I wouldn& #39;t want to read criticism. From my office (1/)
From @DorothyProject, The Complete Stories of Leonora Carrington and The Taiga Syndrome by Cristina Rivera Garza. (2/)
From @LesFugitives, Nathalie Leger& #39;s Suite for Barbara Loden and Exposition (my copy of The White Dress is by my bedside table). (3/)
From @nyrbclassics, Leonora Carrington& #39;s Down Below and Natalia Ginzburg& #39;s Valentino and Sagittarius (whose politics concerning gay men @ABevilacqua7 have been discussing since July).
From @NewDirections, Jenny Erpenbeck& #39;s Not a Novel (not pictured, novels by Dasa Drndic, Ingeborg Bachmann, Helen DeWitt, Fernanda Melchor, Fran Ross, and envelope poems by Emily-fucking-Dickinson--all my favorites)
From @NorthwesternUP, the English translation of Ingeborg Bachmann& #39;s unfinished Todesarten novels The Book of Franza and Requiem (one day I will be able to spell that without looking it up) for Fanny Goldmann.
From @open_letter, English translations of Can Xue& #39;s Vertical Motion and Frontier (not pictured, the wondrous translation of The Last Lover I& #39;m reading from @yalepress)
From @VersoBooks, Izumi Suzuki’s Terminal Boredom, which I’ve been reading on and off for the last twenty-four hours when I need to laugh.
And from @FeministPress at @CUNY, Cristina Rivera Garza’s The Iliac Crest, the last novel I read that I never wanted to end—a writer I described to a friend as a noir feminist Calvino.
Not pictured but by my bedside table are books from @SemiotextePress (Joanna Walsh), @EuropaEditions (Mieko Kawakami), @PressPeninsula (Lynne Tillman), @Carcanet (Christine Brooke-Rose), @soho_press (Diane Williams,), @groveatlantic (Sayaka Murata), & I& #39;m sure there are others!
