Today, I began reading Margarita Liberaki's Three Summers, translated by Karen Van Dyck. This edition features a detailed introduction by Ms. Van Dyck, in which she shares her experiences meeting Ms. Liberaki and collaborating with her on the translation. The original novel, written in Greek, was titled The Straw Hats, but Ms. Van Dyck felt that this title would not resonate with foreign readers similarly.
by Margarita Liberaki
Today, I began reading Margarita Liberaki‘s Three Summers, translated by Karen Van Dyck. This edition features a detailed introduction by Ms. Van Dyck, in which she shares her experiences meeting Ms. Liberaki and collaborating with her on the translation. The original novel, written in Greek, was titled The Straw Hats, but Ms. Van Dyck felt that this title would not resonate with foreign readers similarly.
Three Summers is the story of three sisters who grew up in the countryside near Athens before the outbreak of the Second World War. The sisters live in a large, old house surrounded by a beautiful garden. The oldest sister, Maria, is adventurous and eager to settle down and start her own family. The middle sister, Infanta, is gorgeous but emotionally distant. Katerina, the narrator, and the youngest sister is dreamy and rebellious.
Throughout three summers, the sisters share and keep secrets, fall in and out of love, and try to understand their parents and other adult figures. They also observe the peculiar behaviors of friends and neighbors while worrying about and discovering their identities. Karen Van Dyck’s translation beautifully captures the light and warmth of this modern Greek classic.
Margarita Liberaki (1919-2001) was born in Athens and raised by her grandparents, who owned the Fexis bookstore and publishing house. In addition to her novel Three Summers, she authored The Other Alexander (1950) and The Mystery (1976). She also wrote several plays, including Candaules’ Wife (1955) and The Danaïds (1956), part of a cycle she called Mythical Theater. Furthermore, she contributed screenplays, such as Jules Dassin’s Phaedra (1962) and Diaspora (1999), which focused on Greek intellectuals in exile in Paris during the junta. Her novel Three Summers is now a standard part of public education in Greece and Cyprus and was adapted into a television miniseries in 1995.
Karen Van Dyck is the Kimon A. Doukas Professor of Modern Greek Literature at Columbia University. Her research focuses on modern Greek literature, diaspora literature, gender studies, and translation. She has edited or co-edited several poetry anthologies, including A Century of Greek Poetry (2004), The Greek Poets: Homer to the Present (2010), and Austerity Measures: The New Greek Poetry (2017) for NYRB Poets. Additionally, her translations have appeared in Brooklyn Rail, Asymptote, and The Baffler.
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by Rachel Kushner
Today, I started reading Creation Lake: A Novel by Rachel Kushner, a two-time finalist for the Booker Prize and the National Book Award. This novel follows a seductive and cunning American woman who infiltrates an anarchist collective in France. It is a gripping page-turner filled with dark humor. Creation Lake is Kushner‘s finest achievement—a work of high art, comedy, and unforgettable pleasure.
The story revolves around a secret agent, a thirty-four-year-old American woman who employs ruthless tactics and possesses striking beauty. She is sent to carry out covert operations in France. The narrator introduces herself as “Sadie Smith” when she arrives at a rural commune of French subversives, whom she is secretly monitoring, and to her lover, Lucien, a young and well-to-do Parisian whom she meets by so-called “cold bump”—making him believe their encounter was accidental. Like everyone else she targets, Lucien is helpful to her and ultimately manipulated by her. Sadie operates with strategy and deception, following instructions from her “contacts”—shadowy figures in business and government. Initially, these contacts want her to provoke reactions. As the story progresses, their demands become more complex.
In this region filled with ancient farms and prehistoric caves, Sadie becomes captivated by a mysterious figure named Bruno Lacombe. Bruno mentors young activists who believe that the path to emancipation lies not in revolt but in a return to the ancient past. Just as Sadie thinks she is the seductress and puppet master of those she surveils, Bruno enchants her with his ingenious counter-histories, poignant laments, and tragic narrative.
In brief, striking sections, Rachel Kushner‘s interpretation of “noir” is taut and dazzling.
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by Yiyun Li
Yiyun Li, grappling with life’s deepest sorrows, invites readers into a poignant conversation between a mother and child in a timeless world. Where Reasons End, composed in the aftermath of the loss of her son, ventures into the liminal space between life and death. Here, mother and child engage in conversations untethered from past images and narratives, a profoundly moving portrayal of the love and complexity of their relationship.
The narrator of Where Reasons End shares a profound insight, saying, “I clung to one delusion with all my might: We once gave Nikolai a life of flesh and blood; and I’m recreating it, this time through words.” This emotional journey of recreating a life through words is a central theme that resonates throughout the novel.
With a unique blend of originality, precision, and poise, Where Reasons End immerses readers in a world of intimacy, inescapable pain, and fierce love. The novel’s emotional impact is profound, leaving a lasting impression on those who delve into its pages.
Yiyun Li, a prolific author, has penned six works of fiction—Must I Go, Where Reasons End, Kinder Than Solitude, A Thousand Years of Good Prayers, The Vagrants, and Gold Boy, Emerald Girl—and the memoir Dear Friend, from My Life I Write to You in Your Life.
Her literary prowess has been recognized with numerous awards, including a PEN/Hemingway Award, a PEN/Jean Stein Book Award, a MacArthur Foundation fellowship, and a Windham-Campbell Prize.
She was also featured in The New Yorker’s 20 Under 40 fiction issue. Her work, which has been published in The New Yorker, A Public Space, The Best American Short Stories, and The O. Henry Prize Stories, among other publications, is a testament to her literary excellence.
Currently, she imparts her knowledge at Princeton University and resides in Princeton, New Jersey.
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by Marilynne Robinson
Jack: A Novel by Marilynne Robinson is the second book in this series I have read. Previously I read, Home, and now I have read the fourth. Without Jan by my side, I read more but not always in order. Fortunately, Jack appears in Home at a later point than is covered in this novel. That provided an understanding of the next phase of Jack and Della’s relationship.
I very much enjoyed reading this novel. Although Jan and I fell in love without all of the complexities of this couple, there were enough similarities that reminded me of how special our love was and remains. For example, our long conversations, many of which were while we walked, are reminiscent of the novel.
I highly recommend this novel. One of the reviews suggested that the next volume should be about Della. I will read that book before the ink drys.
Goodreads provides an overview.
In this book, Robinson tells the story of John Ames Boughton, the prodigal son of Gilead’s Presbyterian minister, and his romance with Della Miles, a high school teacher who is also the child of a preacher. They’re deeply felt, tormented, star-crossed interracial romance resonates with all the paradoxes of American life, then and now.
Marilynne Robinson’s mythical world of Gilead, Iowa—the setting of her novels Gilead, Home, and Lila, and now Jack—and its beloved characters have illuminated and interrogated the complexities of American history, the power of our emotions, and the wonders of a sacred world.
Robinson’s Gilead novels, which have won one Pulitzer Prize and two National Book Critics Circle Awards, are vital to contemporary American literature and a revelation of our national character and humanity.
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by Tove Jansson
Today, I began reading “Sun City” by Tove Jansson, translated by Thomas Teal. I found this book mentioned in Maya Chung‘s review in The Atlantic’s Book Briefings, and as an older man, it seemed like the perfect choice for me. In “The Summer Book” and “The True Deceiver,” as well as in her many short stories, Tove Jansson consistently explores the everyday lives of older adults.
She portrays them not as a separate group but as fully fleshed individuals who experience the same jealousies, desires, and joys as any other demographic. It’s no wonder that in her travels through America in the 1970s, she became fascinated with what was then a particularly American institution, the retirement home, where older people lived in their tightly knit worlds.
In Sun City, Jansson depicts these worlds in a group portrait of residents and employees at the Berkeley Arms in St. Petersburg, Florida. As the narrative moves from character to character, the characters move through an America riven by cultural divides, facing the death of its dream. The Berkeley Arms’s newest resident finds a place among the rocking chairs and endless chatter on the veranda while other residents long for past glories, mourning their losses and killing time. Meanwhile, one of their attendants, Bounty Joe, is eagerly awaiting a letter, or even just a postcard, alerting him to the imminent return of Jesus Christ. Nobody’s normal anymore,” the bartender says, “not the old geezers and not the newborn kids.”
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by Atul Gawande
Before departing for Toronto to celebrate our 44th Wedding Anniversary, I went through the e-library. Everything on my list that I wanted to read was not available except for this book. Being Mortal by Atul Gawande is the book I read on our vacation before Jan’s diagnosis of non-Hodgkin Large B-cell Lymphoma.
Selecting Being Mortal might seem an accidental choice to some, and I believe it was a divine intervention. It prepared me to be a caregiver to my wife over the nineteen months of her fight with cancer. It helped me focus on the good life that my wife lived and not the pain and suffering.
Atul Gawande describes his book as “riveting, honest, and humane. Being Mortal shows that the ultimate goal is not a good death but a good life – to the very end.”
When I read the book, I wondered what I could have done to help my mother in her final years. The book offers an excellent overview of how nursing homes and assisted living facilities have struggled to meet the needs of their residents.
Dr. Gawande provides an in-depth overview of the benefits of hospice care. Although I knew of this option, reading this book helped me understand that I was ready for hospice when my wife came home for the last time.
He reminds us that “when it comes to the inescapable realities of aging and death, what medicine can do often runs counter to what it should.” As he writes in the book, the current system does not work and, in many cases, actually shortens life.
This book has had a lasting impact on my life. It allowed me to be a loving caregiver to my wife when she needed it more than anything else. I read it when it would be most beneficial to me.
I highly recommend this book.
Atul Gawande is the author of several bestselling books: Complications, a finalist for the National Book Award; Better; The Checklist Manifesto; and Being Mortal. He is also a surgeon at Brigham and Women’s Hospital in Boston, a staff writer for The New Yorker, and a professor at Harvard Medical School and the Harvard School of Public Health. He has won the Lewis Thomas Prize for Writing about Science, a MacArthur Fellowship, and two National Magazine Awards. In his work in public health, he is the Founder and Chair of Ariadne Labs, a joint center for health systems innovation, and Lifebox, a nonprofit organization dedicated to making surgery safer globally. He is also the chair of Haven, where he served as CEO from 2018 to 2020. He and his wife have three children and live in Newton, Massachusetts.
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by Eiren Caffall
Today, I began reading “All the Water in the World” by Eiren Caffall. Like Station Eleven, this novel is a literary thriller set partly in New York’s American Museum of Natural History in a flooded future. In the spirit of “From the Mixed-Up Files of Mrs. Basil E. Frankweiler” and “Parable of the Sower,” this adventurous journey offers hope that the most important things—love, work, community, and knowledge—will endure.
“All the Water in the World” is narrated by a girl who profoundly appreciates water. In the years following the melting of the glaciers, Nonie, along with her older sister, parents, and their researcher friends, remains in a nearly deserted New York City. They have established a settlement on the roof of the American Museum of Natural History with a strict rule: they may only take from the exhibits in cases of dire need. They hunt and grow their food in Central Park while also working to preserve the collections of human history and science.
When a superstorm breaches the city’s flood walls, Nonie and her family must escape northward along the Hudson River. They carry a book containing records of the lost collections. As they race down the swollen river for safety, they encounter communities that have adapted in various, sometimes frightening, ways to the new reality. Despite the challenges, they are determined to create a new world that honors everything they have saved.
Inspired by the stories of curators in Iraq and Leningrad who worked to protect their collections during wartime, “All the Water in the World” mediates what we strive to preserve from collapse and an adventure filled with danger, storms, and a fight for survival.
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