Böcker utgivna av Comma Press

On 7 July 2014 Israel launched a major offensive against the Gaza Strip, lasting 51 days, killing 2145 Palestinians and demolishing 17,200 homes. Here, Atef's diaries of the war show the full extent of that summer's atrocities from the most humble of perspectives: that of a father, fearing for his family's safety, in a one-sided war.

M. John Harrison is a cartographer of the liminal. His work sits at the boundaries between genres - horror and science fiction, fantasy and travel writing - just as his characters occupy the no man's land between the spatial and the spiritual. Here, in his first collection of short fiction for over 15 years, we see the master of the New Wave present unsettling visions of contemporary urban Britain, as well as supernatural parodies of the wider, political landscape. From gelatinous aliens taking over the world's financial capitals, to the middle-aged man escaping the pressures of fatherhood by going missing in his own house... these are weird stories for weird times.

Born in what is now Ukraine to Polish parents, naturalised as a British citizen, and schooled on the high seas of international commerce, Joseph Conrad was a true citizen of the world. His novels bore witness to the dehumanising repercussions of empire, explored a world in which state-sponsored terrorism ruined individuals' lives, and pioneered complex narrative structures and subjective points-of-view in what was to become the first wave of literary modernism. To mark his 160th birthday, 14 authors and critics from Britain, Poland and elsewhere have come together to celebrate his legacy with new pieces of fiction and non-fiction. Conrad felt that the writer's task was to offer 'that glimpse of truth for which you have forgotten to ask.' In an age of increasing isolationism, these celebrations remind you of the value of such glimpses. Commissioned as part of the Joseph Conrad Year 2017, the book has been published with the support from the Polish Cultural Institute, the Polish Book Institute, and the British Council.

In the pages of this book - the first major anthology of Sudanese stories to be translated into English - diverse literary styles also come together to paint a picture of the city, from the political satire of Ahmed al-Malik to the surrealist poetics of Bushra al-Fadil.

A John Latham poem is a like a precipitation: images coalesce around a single memory the way ice crystallises around the smallest particle to form a snowflake; the strange logic that constructs them is unique each time. Passionate, satirical, mysterious, the poems in his sixth collection capture the vibrancy of a childhood that still bewitches him half a century later, alongside the cruel betrayals of old age, and the fresh possibilities bound up in each new encounter. Latham's training as a physicist may bring a cosmic perspective to the landscapes he maps out, but they are also profoundly local. The wonders of the universe are no more mysterious to him than the simple oddity of other humans. And as the title poem demonstrates, every last atom of detail, even the mistakes of a makeshift translation, have the capacity to beguile. Having trained as a physicist specialising in the science of cloud formation and then later emerged as one of the more curious voices in British poetry, John Latham is not a writer you're ever likely to forget. Merging the intricate beauties of his scientific perspective with a highly playful treatment of memory, landscape, and the imagination, Latham's poems are masterpieces of British surrealism.

Just like Dhaka itself, these stories thrive on the rich interplay between folk culture and high art; they both cherish and lampoon the city's great tradition of political protest, and they pay tribute to a nation that was borne out of a love of language, one language in particular, Bangla (from which all these stories have been translated).

Many of the characters in Martyn Bedford's stories find themselves at a point of redefinition, trading in their old identity for something new. Whether it is an act of retreat or escape - fantasising about storming out of a thankless job, or just avoiding a bad-tempered husband for a few moments on Christmas day - they each understand the first step in changing a reality, is to reconstruct it.

The relationship between sleep and storytelling is an ancient one. For centuries, sleep has provided writers with a magical ingredient a passage of time during which great changes miraculously occur, an Orpheus-like voyage through the subconscious daubed with the fantastic. But over the last ten years, our scientific understanding of sleep has been revolutionised. No longer is sleep viewed as a time of simple rest and recuperation. Instead, it is proving to be an intensely dynamic period of brain activity: a vital stage in the re-wiring of memories, the learning of new skills, and the processing of problems and emotions. How will storytelling respond to this new and emerging science of sleep? Here, 14 authors have been invited to work with key scientists to explore various aspects of sleep research: from the possibilities of sleep engineering and overnight therapies , to future-tech ways of harnessing sleep s problem-solving powers, to the challenges posed by our increasingly 24-hour lifestyles. Just as new hypotheses are being put forward, old hunches are also being confirmed (there s now a scientific basis for the time-worn advice to sleep on a problem ). As these responses show, sleep and the spinning of stories are still very much entwined. This project was supported by the Wellcome Trust.

A letter-writing campaign goes awry when a law is passed that only allows people to walk the streets at night, if they maintain a squatting position at all times... A town is overrun with cockroaches; despite the government's official expressions of concern, the only person doing anything about it is branded an agitator... A widower is forced to move into the city to live with his son, bringing his cat and his strange country ways with him... Diao Dou s short stories perform a kind of high-wire literary acrobatics; each one executes an immaculate mid-air transition, from closely observed social realism to surrealist parody, and back again. Covering all aspects of modern Chinese life from the high-minded morals of an emerging middle class, to the vividly remembered hardships of an all-too-recent collectivist past these stories offer a very particular window into the contemporary Chinese psyche, and show a culture struggling to keep pace with the extraordinary transformations that have befallen it in the space of a single lifetime. Diao Dou is wildly regarded as one of China's leading satirists, praised for his refusal to follow any of the numerous literary trends that often dominate the Chinese literary scene. Translated by Brendan O'Kane.

This anthology brings together some of the pioneers of the Gazan short story, as well as younger exponents of the form, with ten stories that offer glimpses of life in the Strip that go beyond the global media headlines; stories of anxiety, oppression, and violence, but also of resilience and hope, and of what it means to be a Palestinian today.

This anthology brings together ten short stories that go beyond the postcards and snapshots, and introduce us to real residents of Rio - young dancers training to be the next stars of samba, exhausted labourers press-ganged into meeting an impossible deadline, nostalgic drag queens... that make Rio the 'marvellous city' it is.

Mish Green - a former aid worker in Darfur - re-tells the story of the 2004 civil war from 15 different perspectives, capturing by turns the brutal indifference of the government war machine, the terrible scars inflicted on individuals caught in its path, and the complex melting pot of experiences that constitutes any relief effort.

From legends of the desert to horrors of the forest, Blasim's stories blend the fantastic with the everyday, the surreal with the all-too-real. The result is a masterclass in metaphor - a new kind of story-telling, forged in the crucible of war, and just as shocking. Winner of the Independent Foreign Fiction Prize 2014.

The poetry of Gaia Holmes delves deep beneath the urban and the quotidian to reveal a strange and exotic other-life. This, her much-anticipated second collection, champions the survivor and celebrates the indomitability of the self, measuring at each turn the cost suffered against the hope retained, the loss still felt against the new-found strength of starting afresh.

Being short, you might think the story's structure would yield an answer to this question more readily than, say, the novel. But for as long as the short story has been around, arguments have raged as to what it should and shouldn't be made up of, what it should and shouldn't do. Here, 15 leading contemporary practitioners offer structural appreciations of past masters of the form as well as their own perspectives on what the short story does so well. The best short stories don't have closure, argues one contributor, 'because life doesn't have closure'; 'plot must be written with the denouement constantly in view,' quotes another. Covering a century of writing that arguably saw all the major short forms emerge, from Hawthorne's 'Twice Told Tales' to Kafka's modernist nightmares, these essays offer new and unique inroads into classic texts, both for the literature student and aspiring writer.

It seems probable that there are no more moss witches; the times are cast against them. But you can never be certain. In that sense they are like their mosses; they vanish from sites they are known to have flourished in, they are even declared extinct and then they are there again, there or somewhere else, small, delicate but triumphant, alive. Moss Witches, like mosses, do not compete; they retreat... Each story in Sara Maitland's collection enacts a daring kind of alchemy, fusing together raw elements of scientific theory with ancient myth, folkloric archetype and contemporary storytelling. As the laboratory smoke settles, we are treated to a new strain of narrative: a hybrid of fiction and non-fiction, the atavistic and the futuristic. We re also introduced to a weird and wonderful cast of characters: identical twins who fight bitterly day and night for purely quantum mechanical reasons; an expert on bird migration awaiting the homecoming of her lover on the windswept shores of the Hebrides. All the more remarkable is that each of these stories sprang from a conversation with a scientist and grew directly out of cutting-edge research. As befits their hybrid nature, each is also accompanied by an afterword, specially written by the consulting scientist to introduce us to the wonder behind the weirdness.

Spanning centuries and continents, the stories in this collection amount to a tour de force of literary worldbuilding. From deeply insecure time travellers to medieval mystics and futuristic body modification cults, Norminton's characters find themselves torn between conflicting impulses - temptation and fortitude, hubris and shame, longing and regret. By turns sad, strange and darkly comic, The Ghost Who Bled reveals a master storyteller of incredible range.

Intelligent clothing, superhero dictators, contagion-carrying computer games, cross-species reproduction... Welcome to the strange and startling world of Adam Marek; a menagerie of futuristic technology, sinister traditions and scientifically-grounded superpowers a place where the absurd and the mundane are not merely bedfellows, but interbreed. Pulsing at the core of Adam Marek's much-anticipated second collection is a single, unifying theme: a parent s instinct to protect a particularly vulnerable child. Whether set amid unnerving visions of the near-future, or grounded in the domestic here-and-now, these stories demonstrate that, sometimes, only outright surrealism can do justice to the merciless strangeness of reality, only the fantastically illogical can steel us against what ordinary life threatens.

The characters in David Constantine's fourth collection are often delicately caught in moments of defiance. Disregarding their age, their family, or the prevailing political winds, they show us a way of marking out a space for resistance and taking an honest delight in it. Witness Alphonse having broken out of an old people s home, changed his name, and fled the country now pedalling down the length of the Rhone, despite knowing he has barely six months to live. Or the clergyman who chooses to spend Christmas Eve and the last few hours in his job in a frozen, derelict school, dancing a wild jig with a vagrant called Goat. Key to these characters defiance is the power of fiction, the act of holding real life at arm s length and simply telling a story be it of the future they might claim for themselves, or the imagined lives of others. Like them, Constantine s bewitching, finely-wrought stories give us permission to escape, they allow us to side-step the inexorable traffic of our lives, and beseech us to take possession of the moment.

A student pedals an old Ukrainian bicycle between striking factories, delivering bulletins, in the tumultuous first days of the Solidarity movement... A shepherd watches, unseen, as a strange figure disembarks from a pirate ship anchored in the cove below, to bury a chest on the beach that later proves empty... A prisoner in a Berber dungeon recounts his life s story the failed pursuit of the world's very first language by scrawling in the sand on his cell floor...The characters in Pawel Huelle's mesmerising stories find themselves, willingly or not, at the heart of epic narratives; legends and histories that stretch far beyond the limits of their own lives. Against the backdrop of the Baltic coast, mythology and meteorology mix with the inexorable tide of political change: Kashubian folklore, Chinese mysticism and mediaeval scholarship butt up against the war in Chechnya, 9-11, and the struggle for Polish independence. Central to Huelle's imagery is the vision of the refugee be it the Chechen woman carrying her newborn child across the Polish border (her face emblazoned on every TV screen), the survivor of the Gulag re-appearing on his friends doorstep, years after being presumed dead, or the stranger who befriends the sole resident of a ghostly Mennonite village in the final days of the Second World War. Each refugee carries a clue, it seems, or is in possession or pursuit of some mysterious text or book, knowing that only it like the Chinese Book of Changes can decode their story.What we do with this text, this clue, Huelle seems to say, is up to us.

The characters in Mirja Unge's debut collection are all, in their own way, evading something; whether failing to confront the true nature of an encounter, or avoiding responsibilities as a parent, sibling or friend. Abuse, betrayal and neglect lurk beneath a veneer of mutually maintained 'normality', waiting for an opportunity to resurface.

Iraq + 100 poses a question to ten Iraqi writers: what might your country look like in the year 2103 - a century after the disastrous American- and British-led invasion, and 87 years down the line from its current, nightmarish battle for survival?

A unique anthology of ten stories set in the dazzling metropolis of contemporary Tokyo, translated into English for the first time.

Identity, in Guy Ware's confident debut collection, is a mercurial thing. Lawyers paint conflicting pictures of an alleged terrorist; a city trader decides, without warning, to walk out of her life; flirting lovers take role-play to a new, existential, level. Whether living under a totalitarian regime or simply getting through the day in a grindingly predictable metropolis, Ware's characters struggle with the urge to redefine themselves, to start again, to reboot.

From human trafficking in the forests of Serbia, to the nightmares of an exile trying to embrace a new life in Amsterdam, Blasim's stories present an uncompromising view of the West's relationship with Iraq, taking in everything from the Iran-Iraq War through to the Occupation, offering a haunting critique of the post-war refugee experience.

The characters in David Constantine's collection are united by an urge to absent themselves, to abscond from the intolerable pressures of normal life and withdraw into strange ideas, political causes and private languages. Such is the force of Constantine's compassion, however, we cannot help but follow each character into their isolation.

Picking up the primary scent of any investigation, this anthology of wicked tales paints a chilling portrait of modus operandi--the signature that identifies any repeat offender. In this collection of villainous narratives, a coroner reveals a body's telltale clues to his students as he unwittingly dissects his own relationship, a broken-down driver turns his roadside routine into a quite different type of pick-up, and two creative-writing tutors discuss the merits of "hard-boiled" versus "cozy" schools of crime writing while a murderous student points out that it's really procedure that counts. From the ex-doctor tenderly administering a final prescription to his victims to the party of finishing school debutantes exacting revenge on their lecherous host, these stories demonstrate that, even with the most despicable of crimes, there is always methodology within the madness.

Welcome to the surreal, misshapen universe of Adam Marek's first collection; a bestiary of hybrids from the techno-crazed future and mythical past; a users guide to the seemingly obvious (and the world of illogic implicit within it). Whether fantastical or everyday in setting, Marek's stories lead us down to the engine room just beneath modern consciousness, a place of both atavism and familiarity, where the body is fluid, the spirit mechanised, and beasts often tell us more about our humanity than anything we can teach ourselves.