I set out to write a story free of the contemporary canon of issues: no career angst, no philosophical quandaries that would lead one to pose such imponderables as to gluten or not to gluten, where no character sits on a political knife edge, nor is anyone torn by a sense of wanderlust that might compel them out of hybrid comfort into a more exciting life.
Sometime in 2012, I received an email from Ilán Stavans, publisher of Restless Books, wondering if I might be interested in translating a novel by Alejandro Jodorowsky.
Madam was outside in her air-conditioned hall, holding court again with her new best friends. Sir, her husband was out for work, as always, and her two sons were away at boarding school in Shimla. But that wouldn’t stop her from spoiling rotten her niece, Sweetie Di, and her fiancé, Amrikan Sir.
The Pull of It, Wendy J. Fox’s first novel, is palliative care for the neurotic American attachment to routines of housekeeping, childrearing, and career building.
Challenge #1 was to use some element of exaggeration to consider a world in which everyone is imbued with the entrepreneurial spirit.
Things happened more or less like this: the guy came walking down the neighborhood sidewalk. It was early Saturday afternoon and the sun was at his back. He stopped in front of a railing painted green. Oh no, he thought, oh no, please, not again, how old could she be?
Most of us are fortunate enough to survive adolescence, and by a certain age, we’re allowed to forget the pains of first love and the post-high school confusion of standing before a wide-opened world.
If someone would have asked me what type of research I was doing for The Revolutionaries Try Again, my first novel set in Ecuador during the 80s and 90s, I would have said, from the highest pedestal I could afford, none, dear, for I grew up in Ecuador during the 80s and early 90s.
In translation, there are mistakes and then there are mistakes.
An enormous cactus grew in Sra. Rosales’ front yard, and it looked exactly like her late husband.
A quick perusal of Jared Yates Sexton’s previous collections prompts one to consider the work of such distinguished American realists as Richard Ford or Raymond Carver, names that by this point serve as shorthand for a particular kind of story: one that centers on the adversities of a certain kind of down-and-out everyman.