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With our unique bimonthly book subscription box, you will discover the best literary fiction from around the world. Our book boxes offer the easiest way to experience literary classics & the best of contemporary fiction. So, if you’re ready to read the most diverse & captivating literary works on earth, sign up for our bimonthly book subscription box. Scroll down for Book Box FAQs!
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This April, we showcase two books that we are very excited about! One is a new release, out on April 15, and the other is a much awaited book published this past December. Both books have been published by a beloved publisher: NYRB Classics.
On Writers and Writing
Henry James
Henry James needs no introduction. And we are thrilled to be featuring in our April Book Box a new selection of his essays: On Writers and Writing, releasing on April 15.
This book contains his famous essay The Art of Fiction as well as reviews of George Eliot’s Middlemarch (oh you just have to read this unexpected review!), Charles Dickens’s Our Mutual Friend, Thomas Hardy’s Far From the Madding Crowd, and more!
From NYRB:
Henry James, the master novelist, started his literary career as a brash, often blistering reviewer, unafraid to skewer eminences like Charles Dickens and George Eliot, and continued to be a working critic for the rest of his life, driven by an unflagging desire to know what makes fiction work.
James’s critical essays represent an ongoing appreciation of the difficult art of the novel, searching in their consideration of story, character, and style. They also stand out as splendid contributions to the art of the essay, brilliantly argued, rich with metaphor, witty, unfailingly personal.
The Rest Is Silence
Augusto Monterroso
Augusto Monterroso was a Honduran-Guatemalan writer who was renowned for being Latin America’s “most expansive miniaturist”. Italo Calvino called his surreal narratives “the most beautiful stories in the world.” The Rest Is Silence (which were also the last words of Prince Hamlet) is Monterroso’s only novel.From NYRB:
The Rest Is Silence presents the reader with the kaleidoscopic portrait of a provincial Mexican literary critic, one Eduardo Torres, a sort of Don Quixote of the Sunday supplements, whose colossal misreadings are matched only by the scale of his vanity.Presented in the form of a festschrift for the aging writer, this rollicking metafiction offers up a bouquet of highly unreliable reminiscences by Torres’s friends, relations, and servants (their accounts skewed by envy, ignorance, and sheer malice), along with a generous selection of the savant’s own comically botched attempts at “criticism.”Monterroso’s narrative is a ludicrous dissection of literary self-conceit, a (Groucho) Marxian skewering of the Mexican literary landscape, and perhaps a wry self-portrait by an author who is profoundly sensible of just how high the stakes of the art of criticism really are—and, consequently, of just how far it has to fall.
Augusto Monterroso was a Honduran-Guatemalan writer who was renowned for being Latin America’s “most expansive miniaturist”. Italo Calvino called his surreal narratives “the most beautiful stories in the world.” The Rest Is Silence (which were also the last words of Prince Hamlet) is Monterroso’s only novel.From NYRB:
The Rest Is Silence presents the reader with the kaleidoscopic portrait of a provincial Mexican literary critic, one Eduardo Torres, a sort of Don Quixote of the Sunday supplements, whose colossal misreadings are matched only by the scale of his vanity.Presented in the form of a festschrift for the aging writer, this rollicking metafiction offers up a bouquet of highly unreliable reminiscences by Torres’s friends, relations, and servants (their accounts skewed by envy, ignorance, and sheer malice), along with a generous selection of the savant’s own comically botched attempts at “criticism.”Monterroso’s narrative is a ludicrous dissection of literary self-conceit, a (Groucho) Marxian skewering of the Mexican literary landscape, and perhaps a wry self-portrait by an author who is profoundly sensible of just how high the stakes of the art of criticism really are—and, consequently, of just how far it has to fall.
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