Korean author Bae Suah’s latest writing, although a collection of short stories, is equally as experimental, cutting-edge, and captivating as her novels. Each story in this volume, brilliantly translated by Deborah Smith, is laden with her poetic images and philosophical meditations. One theme that she returns to throughout the writing is that of reconnection after a long period of separation that involves both distance and time. As in her previous novels her characters are consumed by wanderlust.
In the title story “North Station,” a man and a woman stand silently on a train platform in an unnamed city. As they wait for the train to arrive the gentleman has a strong desire to kiss this woman but the reason for their awkwardness is hinted at later in the narrative: “Young women of a certain type were both recurring characters in his life and predators who preyed on him, and even now he remembers them well.” As is typical with Suah’s writing, one must pay very careful attention to every detail on the page in order not to miss the most interesting parts and striking images of the story. Daniel Green has written an insightful series of essays at The Reading Experience about innovative female authors and I would include Suah as one of the writers whom he describes as experimenting with the “Movement of Language.” His description of the writings of Noy Holland as “using an alternative mode of composition through which ‘character’ and ‘story’ are not abandoned but emerge as the afterthought of the movement of language, the characters and plots subordinated to the autonomy of that movement” is also apt for characterizing the language of Suah’s stories in this collection and her novels.
While the narrator in “North Station” is waiting for the train, his lover’s presence causes a series of memories to invade his mind. During his short time on the train platform, the man recalls a collection of writings by a suicidal, exiled author with whom he greatly identifies; he remembers a woman he met in a different city whose address is the only tangible thing he knows about her anymore; he reflects on the attic room he stayed at during his university days in which he reads passionate poetry. One of my favorite passages is one in which he reflects on relationships and the metaphor of lover as hunter:
Who would have first used the expression “to capture someone’s heart?” A hunter, perhaps, who would know deeply how it feels to capture a beating heart, a living thing, how the one doing the capturing finds himself captivated, in thrall to the sense of his own omnipotence? Like capturing a fawn or kit still warm from its mother’s heat. Someone who, like the hunter, introduces himself into his victim’s eyes at such an early stage. Who deploys his imagination to render in his mind’s eye that state of utter despair to which the lack of any exit, the terrible clarity of this fact, gives a paradoxical sweetness. Who reproduces this state through what we call a verbal expression. In such a way, the expression would have been born not through those who are captured, but through those who do the capturing. Since the victim has no time for song.
Suah’s greatest strength as a writer lies in her ability to take what at first appears to be disjointed images and scenes and weave them together into a singularly beautiful story. The attic room, the poetry, the woman on the platform he longs to kiss are all connected in her character’s mind with a meditation on time and space: “When was it that he had last kissed a woman so ardently, his lips as passionate as when they pronounced poetry? In that city or this, at the house of his acquaintance or on the platform in the north station, while waiting for the train.”
The entire collection is as riveting and poetic as the title story: an author recalls several visits to her mentor, a young man is reconnected with a former lover while struggling with questions about his sexuality, a playwright experiments with how to portray time on the stage. These stories are a great place to start for those looking to get a taste of Suah’s innovative style of writing. For those of us already familiar with her previous novels, it is exciting to once again encounter more of the author’s intriguing and thought-provoking prose.
Photo credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org Cupid, armed with a bow and arrow, flies in through the window to a room where two naked lovers lie asleep on a couch. Etching.
Justine is another example of the cutting-edge, fascinating, and experimental writing that Open Letter seeks out and publishes from authors around the world. Originally written and published in 2012 in Danish, it has taken a few years for Mondrup’s work to become available in English. It is just the type of creative, sensual, interesting book that was screaming out for Open Letter to translate and publish.
Iben Mondrup is a trained visual artist from The Royal Danish Academy of Fine Arts who is also the author of four novels, including Justine, its sequel, and Godhavn.
New Vessel Press: A subscription of New Vessel books includes all six of their books for the publication year. Subscribers also get to choose one book from their backlist. The cost is $80 which amounts to about 25% off of the cover prices. I haven’t read a book from New Vessel yet that I haven’t enjoyed. This year’s titles include If Venice Dies and A Very Russian Christmas so this subscription is definitely worth it. 
includes twelve of their titles is $170. A full-year of ebooks is $70 and a half year subscription for six books is also $70. They provide a lot of choices depending on one’s budget. Subscribers who are really passionate about their books and want to spend some money up front can also purchase two or three year subscriptions. 
The New York Review of Books: This press also specializes in reissuing lost classics from different countries around the world. They call their product a “book club” but it is essentially a subscription service. For $140 members receive a book every month for 12 months and the membership automatically renews. For a limited time NYRB is also offering a four issue subscription to The Paris Review when readers purchase a membership. I can’t get enough of the books from NYRB classics and I might have to buy a storage unit to house all of my books from their catalog. I will pretty much read anything they publish and $140 is a pretty good bargain for a year’s worth of their books. 
Pushkin online bookshop, and a free copy of Stefan Zweig’s novella Confusion. The Pushkin Collection is a series of paperbacks typeset in Monotype Baskerville, based on the transitional English serif typeface designed in the mid-eighteenth century by John Baskerville. It was litho-printed on Munken Premium White Paper and notch-bound by the independently owned printer TJ International in Padstow, Cornwall. The cover, with French flaps, was printed on Colorplan Pristine White paper. 
Karma, comeuppance, what comes around goes around. There are many terms and phrases for the universal of idea of cause and affect. The Brother is a fast-paced, hard-hitting, short book that uses the plot structure of a western as an allegory for demonstrating the balance of good and evil in the world. The author himself has described the book as “a spaghetti western told in poetic prose, simultaneously paying tribute to both Clint Eastwood and Alessandro Baricco.” The plot of this book is a clever structure for the philosophical and existential ideas that the author explores. When a mysterious man, simply known as Brother, arrives in the unnamed town it is a dark and stormy day and the weather reflects the turmoil that three shady and crooked men have caused for the townspeople.
Rein Raud is the author of four books of poetry, six novels, and several collections of short fiction. He’s also a scholar in Japanese studies and has translated several works of Japanese into Estonian. One of his short pieces appeared in Best European Fiction 2015.
thebookbindersdaughter.com 