76 worldliteraturetoday.org reviews This is the stage at which Dunne begins his anthology. He takes sixty works by writers of various generations , which they themselves chose, and arranges the passages selected by the authors in no particular order; the genres are fiction, poetry, drama, and essay. Naturally, the majority fall under the first two headings; he adds children’s and teenage fiction, drama, and essay, but since there are only six examples of the first and three in each of the other two, the distinction seems pointless. It would be invidious to criticize the selection of texts or, indeed, of their authors: Dunne seems, from what he says, to have done a thorough investigation among the writing and critical communities, and the result is exemplary. It is a different matter when it comes to translation. Of those not done by Dunne, Boland is too free, and omits a few lines (printer’s error?); Moure’s version of Pato seems the best; Pereiro’s self-translation is stilted and literal; while Soto makes a host of errors. Now to the editor, who translated fifty-six passages. He knows his Galician very well, but still has trouble with his English, in the sense that there are quite a few jarring collocations and a number of register problems: “Ai señor . . . e aínda parece mentira que un home tan grande coma vostede coma tan pouco” (“Dear sir . . . I can hardly believe a man of your stature would be of a mind to eat so frugally”; my italics). However, all in all Dunne has done a marvelous service to Galician culture with this trilogy: let’s hope it has the desired effect. David Mackenzie University College, Cork, Ireland Miriam Katin. Letting It Go. New York. Drawn & Quarterly / Farrar, Straus & Giroux. 2013. isbn 9781770461031 Seven years ago, Miriam Katin made an impressive debut with the publication of her first graphic novel, We Are On Our Own (see WLT, Mar. 2007, 66), a Holocaust tale of running, hiding, and escape. With Letting It Go, she confirms her place as a significant graphic novelist.Avividstoryteller,Katinmanages to capture interior monologue and external narrative seamlessly with deft and elegant strokes, both verbal and pictorial. Her central character, Miriam, is a middle-aged, married Holocaust survivor and artist whose only son, Ilan, decides to live in Berlin and wants to become a Hungarian citizen, his right because Miriam was born in Hungary. This initiating incident is central to the tale, but it is in the details of the story that we find the surprise and delight M. M. Tawfik candygirl American University in Cairo Press In a novel he translated personally from Arabic to English, Tawfik situates the elements of American interventionism, intellectual identity, and Internet culture within the complex panorama of urban Cairo. An Egyptian scientist known as “the Cerebellum,” formerly of the Iraqi nuclear program, evades a renegade NSA agent while pursuing a virtual love affair with a seductive online avatar. Netica Symonette A Girl Called Nettie Dunham Books This autobiography tells the story of Netica “Nettie” Symonette’s ascent from humble beginnings toward a foundational role in the tourism industry of the Bahamas. She recounts her life with great detail in downto -earth language that contextualizes her simple determination. Symonette expresses patriotism and pride in her accomplishments as a Bahamian woman, always with an appealing sense of humility. July–August 2013 • 77 Nota Bene in this work. An imagined catastrophe resulting from explosions of beautifully designed German products plugged into many American kitchen outlets leaves us with no doubt about the narrator’s fears. Nor is there doubt about her sense of humor. A meditation on procrastination cites Proust’s A la recherche du temps perdu and then has her wandering the apartment only to land in front of the refrigerator peering into a container thinking, “A la recherche des sardines perdus.” Katin wears her learning lightly, and in both word and image she conveys humor while revealing buried and not-so-buried fears. There is also a fascinating shift in perspective embedded in the movement of her tale. One moment she tells her son that the ground of Germany is soaked with the...