Škėma presents his story in a mode apt to the character, the mode Modernist, the language Lithuanian, the stance postglobal.Īntanas Garšva’s ignorance of ideology-which, of course, we should be cautious about equating with Antanas Škėma’s lack of interest in it-amounts to an aesthetic stance vis-à-vis existential imperatives, rather than a response to a climate of opinion. Throughout an indigent existence the character adheres to a bohemian way of life, as variously as possible, doggedly. Neither of his parents is faithful to the other, and he witnesses the dissolution of their marriage, his mother’s descent into dementia and his father’s decision to place her in a sanitarium. Garšva grows up in the town of Kaunas as the only child of two teachers, a mother “of noble birth” and a “charming liar” of a father. This work is a befitting emblem of an art which lends enduring shape to adversity. The novel is told through stream-of-consciousness interior monologue, journal entry, and omniscient third-person narration, arranged according to the association of ideas, rather than the conventions of rhetoric. White Shroud (1958), the best-known work and the only novel by Lithuanian artist Antanas Škėma (1910-1961), presents the life story of a poet named Antanas Garšva as he arrives at the threshold of adulthood. Reviewed by Erik Noonan, Assistant Editor White Shroud by Antanas Škėma, translated from the Lithuanian by Karla Gruodis, Vagabond Voices, 2018. Translated from the French by Margaret MorrisonĪs the Baltic countries are this year’s Market Focus at the London Book Fair, we continue our showcasing of Lithuanian literature this week with a review of a Lithuanian modernist classic. This showcase has been made possible by Lithuanian Culture Institute. Antoinette Rychner, from After the World.Translated from the Italian by Brian Robert Moore Anna Felder, from Unstill Life with Cat.Translated from the French by Rachel Farmer Catherine Safonoff, from The Miner and the Canary.Translated from the French by Andrea Reece Gertrud Leutenegger, from Panicked Spring.Eugene Ostashevsky, from Fourteen Ways of Looking at a Translator.Translated from the Spanish by Whitney DeVos Sergio Chejfec, Notes Toward a Pamphlet.Translated from the French by Jeffrey Zuckerman

Translated from the Portuguese by Cristina Ferreira Pinto-Bailey Translated from the French by Lara Vergnaud Mohamed Leftah, Captain Ni'mat's Last Battle.Translated from the French by Caitlin O'Neil Michael Lee, Serious Intent, Light Humor, Low Stakes.Translated from the Spanish by Kelsi Vanada Andrea Chapela, from The Visible Unseen.Translated from the Spanish by Jimin Kang Anna Kushner, How Altın Gün Saved My Life.Translated from the Arabic by Ghazouane Arslane Abdelfattah Kilito, Borges and the Blind.Translated from the Serbian by Marina Lavoie Translated from the French by Bryan Flavin Translated from the German by Aaron Sayne Translated from the Chinese by Chen Zeping and Karen Gernant

Translated from the French by Daniel Lupo Translated from the Spanish by Katherine M.

Juan Calzadilla, from Dictated by the Pack.

Translated from the Arabic by Fady Joudah Translated from the Greek by Konstantinos Doxiadis Translated from the Hebrew by Shoshana Olidort

Almog Behar, First We'll Speak Many Words About God.

Ona fontaine white