Today Bangladeshi poet Ahsan Akbar launches The Devil’s Thumbprint (Bengal Lights Books, $5.50), his debut collection, at the Hay Festival in Dhaka, Bangladesh. Poet and critic Kaiser Haq, who will be launching his book Pariah (Bengal Lights Books, $5.50) has praised Akbar’s debut for its daring and balance. molossus is pleased to publish the following […]
Author Archive | David Shook
Saccani surveys typographic installations from around the world in Letterscapes, one of the most exciting books I’ve come across this year. Poet Doty and artist Waterston collaborate to try their hand at the bestiary.
Composed from the text of the 1949 International Military Tribunal in Nuremberg , Heimrad Bäcker’s Seascape, translated from the German by Patrick Greaney, recontextualizes the captain’s log of a German submarine during World War II.
Clare Sullivan translates Ámbar Past’s poem “To Stop Being Indian.”
Kwame Dawes mourns Ghanian poet Kofi Awoonor, the Buenos Aires Review introduces Babel, and Shiki Nagaoka gets reviewed.
An unlikely promoter of Ismail Kadare, poetry from The Bachelorette, 60,000 Persian couplets, and “pre-existing books as a container for innovative publishing experiments.”
Empathy runs rampant in this anthology named after South African polymath Sol Plaatje, translator of Shakespeare into Tswana remembered for his observations on the Boer War.
It’s a coming-out year for Burundian literature in the English-speaking world, highlighted by the launch of the inaugural Andika Prize for English-language short stories.
Poet and translator Jacob Steinberg discusses the translator’s job inventing a new language, Argentina’s Generación de los 90, and Tijuana cartoneras.
Editor David Shook presents his favorite links from around the web, featuring protests in Turkey, women in translation, machine translation, Uyghur politics in Europe, Pablo Neruda’s possible murder, and more.
In today’s MFA era of poetry, Mario Santiago Papasquiaro stands as an exciting example of the questioner who wears his wide range of influences on his sleeve, not as proclamatory badges but as departure points for a wider aesthetic conversation, blurring—refusing—the line between the low and high brow, claiming life itself as his poetry workshop.
On the eve of the country’s latest farcical election, Editor David Shook critiques American policy on Equatorial Guinea.