Anna Moschovakis

A formidable, uncanny, and utterly unique new work from accomplished novelist and poet, Anna Moschovakis, whose translation of David Diop's Fr re d' me (At Night All Blood Is Black, Pushkin and FSG) won the 2021 International Booker Prize After a seismic event leaves the world shattered, an unnamed narrator at the end of a mediocre acting career struggles to regain the ability to walk on ground that is in constant motion. When her alluring younger housemate, Tala, disappears, what had begun as an obsession grows into an impulse to kill, forcing the narrator to confront the meaning of the ruptures that have suddenly upended her life. The drive to find and eliminate Tala becomes an existential pursuit, leading back in time and out into a desolate, dust-covered city, where the narrator is targeted by charismatic "healing" ideologues with uncertain motives. Torn between a gnawing desire to reckon with the forces that have made her and an immediate need to find the stability to survive, she is forced to question familiar figurations of light, shadow, authenticity, resistance, and the limits of personal transformation in an alienated, alienating world. Darkly comic, deeply resonant, and hallucinatory in tone, An Earthquake Is a Shaking of the Surface of the Earth will appeal to readers of Annie Ernaux, Dionne Brand, and Sheila Heti.

Now in paperback, a collection of interviews with a French cinematic titan--covering subjects such as adaptation, the effects of capitalism on art, and the importance of intuition--selected from a period of four decades. Robert Bresson, the director of such cinematic masterpieces as Pickpocket, A Man Escaped, Mouchette, and L'Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the "advances" of Cinerama and CinemaScope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing--in his view--art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the soundtrack, and to Bresson's one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as "Sound...invented silence in cinema," "It's the film that...gives life to the characters--not the characters that give life to the film," and (echoing the Bible) "Every idle word shall be counted." Bresson's integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson's movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: "It's always ready to feel before it understands. And that's how it should be."

When the weather revolts, certainties dissolve and binaries blur as members of two reading groups converge at the intersection of theory and practice to reshape their lives, relationships, and reality itself. In the latest novel from Anna Moschovakis, two reading groups, unofficially called Love and Anti-Love, falter amidst political friction and signs of environmental collapse. Participation offers a prescient look at communication in a time of rupture: anonymous participants exchange fantasies and ruminations, and relationships develop and unravel. As the groups consider—or neglect—their syllabi, and connections between members deepen, a mentor disappears, a translator questions his role, a colleague known as “the capitalist” becomes a point of fixation, and “the news reports” filter through in fragments. With incisive prose and surprising structural shifts, Participation forms an alluring vision of community, and a love story like no other.

Anna Moschovakis measures words, crosses languages, and invents forms. In a mode of inquiry, friction, and barbed naivete, these four long poems trouble notions of history, self-knowledge, and intimacy, insisting that "how to be" is a question we can never tire of confronting. From "Paradise (film two)": / Being raised in science / under the sign of logic / I never understood how certain / promises / could be made / I could say "I promise / that unless something unexpected happens / I will do the dishes every night / this week" / I was very literal / especially with my lovers / I could say "I love you today" / but not "I will love you tomorrow" /

A sharp-witted investigation of love, work, and human responsibility in the age of consumption and hyperexposure."[Moschovakis'] poems illuminate, amuse, and provoke. Plato would have loved them."? Ann LauterbachIn a world where we find "everything helping itself / to everything else," Anna Moschovakis incorporates Craigslist ads, technobabble, twentieth-century ethics texts, scientific research, autobiographical detail, and historical anecdote to present an engaging lyric analysis of the way we live now. "It's your life," she tells the reader, "and we have come to celebrate it."