premise of a collegiate backpacker is given complexity and drama as Anna unexpectedly deviates from the typical European tourist cities to explore the Balkans in the summer of 1968. Even twenty years out from World War II, the persistence of anti-Semitism makes her mountain passage fraught with danger. The story slopes suddenly into one of political intrigue, cultural identity, and the fight to resist erasure by the dominant power structures. Levy has previously published nonfiction on the history and culture of the Balkans, and her expertise shines as Anna is pulled deeper into the world of underground political resistance. Anna’s Dance is sometimes surreal with its hairpin twists and turns and can feel breathless at times. It is difficult to say whether this is done purposefully, to mimic the tempestuous history of the Balkans and its shifting political allegiances, or whether the book could have used more time and space to foster a connection between its readers and the heroine. In many ways, Anna is not a heroine at all or even a true protagonist. The events of the story seem to just happen to her as she thumbs a ride on a half-hearted and fearful search for an identity she would often rather run from. The people she meets along the way, however, have a depth, strength, and deep devotion to their heritage that is compelling and engaging. The history as told by these rebels and resistance fighters is fascinating and personal, and where Levy comes into her own as a storyteller. The history of the Macedonian Question and the Balkan Wars, as told by freedom fighters Spiro and Kosta in the dim light of kitchens and dance halls, becomes as relevant as today’s social justice movements, a grim but hopeful reminder of the constancy of civil unrest and the fight of the underdog for a fairer world. Ultimately, their passion transforms Anna, who comes to a deeper understanding of the importance of her heritage and the preservation of the traditions of those that came before her, and those who will come after. Elizabeth Stevens University of Oklahoma Marion Poschmann The Pine Islands Trans. Jen Calleja. Toronto. Coach House Books. 2020. 160 pages. THE DELIGHT IN CLASSIFICATION in classical Japan, or perhaps the taste for precision, extended even to the aesthetic appearances of matsu, or pine trees, which could be divided according to their forms. Chokkan: upright trunk tapering off at the top. Mōyogi: the S-shape. Shakkan: trunk bent at a forty-five-degree angle. Fukinagashi : the windswept form. Kengai: the cascade. Bunjingi: the weathered, timeworn look, beloved of poets. Matsu were an important subject in classical Japanese literature, and none more so than the pine islands of Matsushima. “Matsushima, ah! / Aa-ah, Matsushima, ah! / Matsushima, ah!” wrote the haiku master Matsuo Bashō (1644–94), lost for words at the sight of them, in a famous but possibly apocryphal poem. His dream of seeing the moon rise over the pine islands was the impetus for the journey recounted in his classic Narrow Road to the Interior (1702). Gilbert Sullivan, the protagonist of German author Marion Poschmann’s first novel translated into English, The Pine Islands, travels to Japan on a whim, convinced by a dream that his wife is cheating on him. He is a middle-aged scholar, unsuccessful and disappointed with life, the foremost expert on a subject so ridiculous one can just imagine it as the fiercely defended turf of some embittered junior academic: beard styles or, to be precise, beard fashions and representations of the divine in art. A copy of Bashō’s Narrow Road, bought at the airport, convinces him to repeat the journey across the north of Japan, though instead of walking 2,400 kilometers to Matsushima and back, Sullivan travels mostly by bullet train. According to Sam Hamill, who translated Bashō’s Narrow Road, the haiku master ’s poem of wordless rapture in front of the famous pine islands reveals hints of mono no aware, an aesthetic category central to classical Japanese literature. Mono no aware—literally, the pathos of things—described a sense of rapture over the ephemeral, a perception of “natural poignancy in the beauty...
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