Exploring sanity and insanity, truth and untruth, The Rise and Fall of Parkinson's Disease is Svetislav Basara's unblinking and unforgettable deconstruction of the Soviet psyche.Told as an eclectic collection of appropriated testimonies, treatises, missives, and police files, The Rise and Fall of Parkinson's Disease follows the progression of the contagion's patient zero, a Soviet citizen (sometimes) named Demyan Lavrentyevich Parkinson, as he ascends from hellish health to the sacred illness. Hailed as one of Serbia's most influential living writers, Svetislav Basara's scathing, irreverent critiques of authoritarianism have twice won him Serbia's prestigious NIN Award. In The Rise and Fall of Parkinson's Disease, Basara lives up to this reputation with a book as formally ambitious as it is intellectually sophisticated. His blend of grotesque absurdism and wry humor evokes the paranoid, vexing worlds of Franz Kafka's novels and the meta-textual assemblages of Paul Auster. Told from a colorful range of perspectives, the novel is a multifaceted, crystalline account of truth, lies, and history, a sprawling case study of humans in an inhuman society.
"Antâonio Lobo Antunes's twenty-fifth novel, Commission of Tears (2011, Comissäao das Lâagrimas) is set during the Angolan Civil War (1975-2002). Angola attained official independence on November 11, 1975 and, while the stage was set for transition, a combination of ethnic tensions and international pressures rendered Angola's hard-won victory problematic. As with many post-colonial states, Angola was left with both economic and social difficulties which translated into a power struggle between the three predominant liberation movements. The People's Movement for the Liberation of Angola (MPLA), formed in December of 1956 as an offshoot of the Angolan Communist Party, had as its support base the Ambundu people and was largely supported by other African countries, Cuba, and the Soviet Union. In this novel, Antunes delves into this traumatic period of Angola's history through the fragmented memories and dreams of a broken woman. The author drew from the story of the commander of the female battalion MPLA who was tortured and killed following the state coup of May 1977. It is said that while they tortured her she did not stop singing. This is the story of Cristina, admitted in to a psychiatric clinic in Lisbon. In her torrent of memories, dialogues and traumatic episodes, Cristina remembers her early childhood in Africa, at the time when everything inside her head was intertwined with her father's voice, who was a former Black priest and became one of the torturers of the "Commission of Tears." Cristina's white mother, a cabaret dancer imported from Lisbon to entertain Portuguese farmers in Angola, marries the Black ex-priest because she finds herself pregnant with Cristina by the man who exploits her, the cabaret manager. The long, twisting narrative weaves together the three voices of daughter, father, and mother as they recall the terrors of their life in Angola, and their own suffering. Their personal tragedies, scarred by racism and abuse, mirror those of the country that is being torn asunder around them"--
Radical and racy, Robert Cooverâ¿s Coover Stories is a new collection of incisive, inventive works from the postmodern master.When Robert Cooverâ¿s first collection Pricksongs & Descants came out in 1969, his shortstory âThe Babysitter,â? took the literary world by storm. Described as âmetafiction at its best,â?his work is taught in classrooms more than half a century later, no less relevantâ¿andirreverentâ¿than at its debut. Provocative, experimental, and biting, Cooverâ¿s darkly satiricwriting has pushed the avant-garde to its limits and sired a generation of postmodernists. Coover Stories is the fourth short story collection from Robert Coover. Drawing on decades of experience, the William FaulknerFoundation Awardâ¿winning writer continues to shock and engage his readers with his wit, style,and keen critical eye for the paradoxes of modernity.
In this brilliant, inventive, tragic farce, Deborah Levy creates the ultimate dysfunctional kids, Billy and his sister Girl. Apparently abandoned years ago by their parents, they now live alone somewhere in England. Girl spends much of her time trying to find their mother, going to strangers' doors and addressing whatever Prozac woman who answers as "Mom." Billy spends his time fantasizing a future in which he will be famous, perhaps in the United States as a movie star, or as a psychiatrist, or as a doctor to blondes with breast enlargements, or as the author of "Billy England's Book of Pain." Together they both support and torture each other, barely able to remember their pasts but intent on forging a future that will bring them happiness and reunite them with the ever-elusive Mom. Billy and Girl are every boy and girl reeling from the pain of their childhoods, forgetting what they need to forget, inventing worlds they think will be better, but usually just prolonging nightmares as they begin to create--or so it seems--alternative personalities that will allow them to survive and conquer and punish. In the end, the reader is as bewildered as Billy and Girl--have they found Mom and a semblance of family, or are, they completely out of control and ready to explode?
Confined to a prison cell, thrice-murderer Pascual Duarte recounts his journey from a violent childhood to a life of pain and misfortune; juxtaposing tableaus of country poverty against scenes of bare brutality, Nobel laureate Camilo José Cela crafts a powerful meditation on cruelty and anomie. The Family of Pascual Duarte follows his upbringing in the poor Spanish province of Extremadura to his eventual imprisonment—and impending death sentence. Death permeates Duarte’s world: his father’s grotesque death to rabies, his young brother’s drowning in an oil vat, and the loss of his children. But it is his wife’s sudden death that condemns him to the darkest path when, losing all faith and driven by blind revenge, he kills her souteneur. Now an alien to the world around him, Pascual Duarte resigns himself to his bloodied fate—yet never gives up his search for peace.Camilo José Cela has been recognized as one of the pioneers of Spanish literary realism, and his masterwork The Family of Pascual Duarte proves the power of his prose. The novel, which birthed the transgressive and groundbreaking tremendismo movement, roils with emotion and unflinching inhumanity, painting the Spanish countryside in bloodshed, eroticism, and an unshakeable feeling of grief. Blending the political with the personal with the philosophic, the result is an unparalleled exploration of the fraught relationship between man and society, and the past’s inescapable hold on the present.
Candid and unfettered, Sven Popovic's Last Night is a playfully existential meditation on youth and the search for the self. Acclaimed in his native Croatia, Popovic's unique blend of intimacy and contemplation has garnered him a following in the alternative literary scene of Zagreb-and beyond. With an intellectualism that never takes itself too seriously, an unaffected fluidity of form, and a keen eye for the smallest, strangest moments that color our lives, his stories weave an offbeat tapestry of urban life. Last Night is the first short story collection from Sven Popovic, whose writing was previously featured in Dalkey Archive Press's Best European Fiction 2017, and his first full work to be released in English. Slickly translated by Vinko Zgaga, Popovic's sometimes-dreamlike, sometimes-conversational vignettes offer a shrewd, original outlook on life's absurdities.
The tenth child of a fantasist mother and an absent millionaire, Matty Crickholme is growinginto a sexually bewildered, neurotic young man. Through the collected paraphernalia of anunconventional childhood, Alex Kovacs creates a quirky, kaleidoscopic rumination on family andhow it shapes us—for better or worse.Sexology follows the strange, wonderful, fluxional world of the Crickholmes, wherenonconformism is celebrated, siblings form autonomous republics, and eccentricity reignssupreme. The Crickholme siblings youthful exploits take them on myriad paths: a hermeticpsychic, a dog trainer, an ice cream purveyoress, a missing person. Between memories,factoids, letters, and old photographs, Matty investigates how their offbeat rearing made themthe adults they became, and how fantasy and convention collide.Alex Kovacs’s writings have received acclaim for their invention, wit, and astute observations ofour absurd world. Sexology brings this intellectual playfulness to the story of the Crickholmeswith a unique prose that evokes the complex emotional landscapes of W.G. Sebald’s novels andthe sometimes-gentle, sometimes-devastating style of Susanna Clarke. The result is anentrancing, incomparable medley.
"Once a fãeted literary figure, the former lover of B-list movie star Lucida, but now derelict, incontinent, asexual, ageing poet Harold Lime turns his back on material modernity, withdrawing to a basement in the university town of Cambridge, England. But human connections will prove difficult to sever completely, and he is drawn out of himself by a fox hunt saboteur ("the sab woman"), with whom he forms a poignant, uneasy relationship and who acts as his mutual confessor. In the isolation of his basement, Harold Lime obsessively listens to Mahler, whose nine symphonies, unfinished tenth, and Earth Songs, each corresponding to a separate chapter of this innovative poetic novel, will reawaken the sensitivities he has tried to erase, taking him back to his Australian childhood and youth, fostering a growing awareness of intertwined body and soul, of commitment and connectedness, of the ecology of rootedness and unrootedness in an unjust world"--
While living in exile in Berlin, the formidable literary critic Viktor Shklovsky fell in love with Elsa Triolet. He fell into the habit of sending Elsa several letters a day, a situation she accepted under one condition: he was forbidden to write about love. Zoo, or Letters Not about Love is an epistolary novel born of this constraint, and although the brilliant and playful letters contained here cover everything from observations about contemporary German and Russian life to theories of art and literature, nonetheless every one of them is indirectly dedicated to the one topic they are all required to avoid: their author's own unrequited love.
This novel is one of the most ambitious and remarkable literary achievements of our time. It is a picaresque, psychological novel¿a novel of the road, a journey or voyage of the human spirit in its search for reality in a world of illusion and nightmare. It is an epic of what might be called the Arabian Nights of American life. Marguerite Young¿s method is poetic, imagistic, incantatory; in prose of extraordinary richness she tests the nature of her characters¿and the nature of reality.Miss MacIntosh, My Darling is written with oceanic music moving at many levels of consciousness and perception; but the toughly fibred realistic fabric is always there, in the happenings of the narrative, the humor, the precise details, the definitions of the characters. Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard¿these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling.The novel touches on many aspects of life¿drug addiction, woman¿s suffrage, murder, suicide, pregnancy both real and imaginary, schizophrenia, many strange loves, the psychology of gambling, perfectionism; but the profusion of this huge book serves always to intensify the force of the central question: ¿What shall we do when, fleeing from illusion, we are confronted by illusion?¿ What is real, what is dream? Is the calendar of the human heart the same as that kept by the earth? Is it possible that one may live a secondary life of which one does not know?In every aspect, Miss MacIntosh, My Darling stands by itself¿in the lyric beauty of its prose, its imaginative vitality and cumulative emotional power. It is the work of a writer of genius.
In The Making of Americans, Gertrude Stein sets out to tell "a history of a family's progress," radically reworking the traditional family saga novel to encompass her vision of personality and psychological relationships. As the history progresses over three generations, Stein also meditates on her own writing, on the making of The Making of Americans, and on America.
Dead as Doornails, first published in 1976, brings back into print a true classic of Irish memoir. Anthony Cronin’s account of life in post-war literary Dublin is as funny and colorful as one would expect from an intimate of Brendan Behan, Patrick Kavanagh l, and Myles na Gopaleen (aka Flann O’Brien); but it is also a clear-eyed and bracing antidote to the kitsch that passes for literary history and memory in the Dublin of today. Cronin writes with remarkable subtlety of the frustrations and pathologies of this generation: the excess of drink, the shortage of sex, the insecurity and begrudgery, the painful limitations of cultural life, and the bittersweet pull of exile. We read of a comical sojourn in France with Behan, and of Cronin’s years in London as a literary editor and a friend of the writer Julian Maclaren-Ross and the painters Robert MacBryde and Robert Colquhoun. The generation chronicled by Cronin was one of wasted promise. That waste is redressed through the shimmering prose of Dead as Doornails, earning its place in Irish literary history alongside the best works of Behan, Kavanagh, and Myles.
This scrupulously edited and annotated collection throws extraordinary light on the genesis, composition and publication of The Ginger Man, a masterpiece that censors and critics could not stop, going on to sell 50 million copies worldwide. The riveting backstory of the classic novel set in post-war bohemian Dublin is finally told in 220 intimate and revealing letters between author J.P. Donleavy and his Trinity College Dublin friends Gainor Steven Crist and Arthur Kenneth Donoghue, inspirations for the main characters, Sebastian Dangerfield and Kenneth O’Keefe.Spanning the late 1940s to the early 1980s, the letters create a compelling narrative, told in three distinct voices, that reads like Donleavy fiction – hilarious, reflective and brawling by turn, always revealing of these colourful individuals, the special time and place they shared and what came after as they ventured into the wider world. Among the many interesting people popping up in the letters are: Brendan Behan, Patrick Kavanagh, Trinity pals James Hillman and George Roy Hill, Maurice Girodias who published The Ginger Man becoming embroiled in a 21-year legal battle with the author, Seymour Lawrence who published Donleavy’s second novel and lost his job because of it. Making appearances are film director John Huston who took Donleavy fishing and ‘a pop star’ (Mick Jagger) who failed in his attempt to be inconspicuous at a Donleavy party. This unique collection is richly illustrated with period photos and facsimiles of letters and pages from the first draft of what became The Ginger Man. Mariana Crist contributed a loving reminiscence of her father. She presents the real man behind the fictional character. She also recalls being babysat by Brendan Behan, making her the only toddler then permitted in the pubs of Dublin. The Ginger Man Letters is essential reading for fans of the author and his masterpiece, as well as literary scholars and those interested in bohemian Dublin days and is sure to attract a new generation of readers.
Thirty years in the making, William Gass's second novel first appeared on the literary scene in 1995, at which time it was promptly hailed as an indisputable masterpiece. The story of a middle aged professor who, upon completion of his massive historical study, "Guilt and Innocence in Hitler's Germany," finds himself writing a novel about his own life instead of the introduction to his magnum opus. The Tunnel meditates on history, hatred, unhappiness, and, above all, language.
In her most experimental work to date, Karla Marrufo Huchim explores universal themes with appreciable specificity: loneliness, family angst, memory loss—from a perspective belonging singularly to a native of the Yucatán Peninsula. Mayo’s unnamed narrator is an older woman, isolated in her domestic life, who is both suffering from memory loss and intent on recounting the lives of three generations of her family. The Yucatán culture and community that Marrufo Huchim describes through her narrator’s fine but faltering mind will be foreign but not fetishized for American readers.
The ugly side of superheroesWhat if you suddenly had superpowers? What would you do? How would your friends and family react? What would your obligations to society be?The superheroes’ first missions— combating terrorists or rescuing disaster victims— are a boon to France. Yet while these actions bring the country pride, unity quickly starts to unravel. These superheroes, ultimately, are human. Paparazzi are everywhere. One has an affair with another’s wife. Another questions following the government’s imperialist agenda. Meanwhile the public carps on social media. Molia takes our fascination with superheroes and adds a cutting portrayal of contemporary social mores to create an entertaining and disturbing work with deep dystopian underpinnings.
Sally Mara’s Intimate Diary, dating from 1950, is exceptional; a salacious, black humorous andmeaningful story by the influential and erudite French novelist, Raymond Queneau. When ‘Sally Mara’begins her diary in January 1934, she is 17 years old and lives with her mother, older brother andyounger sister in south central Dublin. The everyday language is, of course, English, but she is writingin ‘newly-learned’ French to impress her beloved and just departed French tutor, a professional polyglotlinguist. To impress him even more, she decides to learn Irish in order to write a novel of some kind inIrish. However, the action throughout is determined by Sally’s resolution to overcome her ignorance ofthe mysteries of sex and reproduction. The often sensual and dark humour of Sally Mara’s Journal intime is founded on language andlanguages, so this translation, while prioritizing clarity, aims to maintain ‘Frenchness’, tinged of coursewith Dublinese. Surprisingly, for a French author, Irish words and phrases occur throughout; these arenot translated but, like some challenging French phrases, are supported by footnotes.In 1949, when Raymond Queneau wrote Journal intime, published anonymously under thepseudonym Sally Mara, he was, as always, greatly influenced by James Joyce and fascinated by thelimitations of language. He was also in need of the ready money provided by Éditions du Scorpion,publishers of erotic and violent pulp fiction, and of Journal intime.
The narrator of Montano’s Malady is a writer named Jose who is so obsessed with literature that he finds it impossible to distinguish between real life and fictional reality. Part picaresque novel, part intimate diary, part memoir and philosophical musings, Enrique Vila-Matas has created a labyrinth in which writers as various as Cervantes, Sterne, Kafka, Musil, Bolaño, Coetzee, and Sebald cross endlessly surprising paths. Trying to piece together his life of loss and pain, Jose leads the reader on an unsettling journey from European cities such as Nantes, Barcelona, Lisbon, Prague and Budapest to the Azores and the Chilean port of Valparaiso. Exquisitely witty and erudite, it confirms the opinion of Bernardo Axtaga that Vila-Matas is “the most important living Spanish writer.”
Razor-sharp social commentary, Jane Austen for contemporary feminists unafraid to confront a dark worldIn her latest translated volume of collected short fiction, Rumena Bužarovska delivers more of what established her as “one of the most interesting writers working in Europe today.” Already a bestseller across her native Macedonia, I’m Not Going Anywhere is an unsentimental and hyperrealist collection in which Macedonians leave their country of origin to escape bleakness—only to find, in other locales, new kinds of desolation in theses dark, biting, and utterly absorbing stories.
A Spanish-gothic version of a Patricia Highsmith novel Jon and Katharina spend the winter in Jon’s childhood home on the Cantabrian coast, lonely and bored, ambivalent about their precarious freelance jobs and disconnected in their relationship. Yet the couple’s routine will soon be disturbed when one rainy night, they witness strange lights in the sky over the village. The next morning, ufologists begin to arrive in the village, anxious to make extraterrestrial contact. The morning brings other unexpected guests: Jon's distant cousin, Markel, and his companion, the silent, alluring Virginia. The visit becomes increasingly uncomfortable as—like the ufologists camped out in view of the house—the strangers stay on and show little sign of planning to leave. Days stretch into weeks, even as the cousins can't remember ever having met, Virginia’s behavior becomes subtly threatening, and Jon begins doubt that Markel is who he says he . . . A deliciously tense and darkly humorous novella that explores the border that separates love from routine and offers a twist on theme of “the other” and how to live with the unknown, The Strangers introduces English readers to singular talent.
A rumination on authority and its limitations, about what we think we know - and the spaces in between. In Confessions of Narcissus, Scully suggests that our demand for narrative coherence is one of the things that makes our lives so difficult to bear, that when William Hazlitt declared, "It is we who are Hamlet", he was telling us something about Shakespeare’s universality that is worth considering: Hamlet does not just give voice to our own fears and anxieties, he also calls them into being. In the process of trying to find cures for ourselves, that is to say, we become creators, to some extent, of our own misfortunes. Confessions of Narcissus builds from the idea that stories are what we require and also (partly) what we suffer from. In this series of observations and aphorisms about literature and life, Scully makes the case that uncertainty isn't an ailment that we should necessarily try to overcome. Following in the tradition of Keats and others, uncertainty may be something that we have good cause to be more curious about, that uncertainty has artistic merit and is a state of being that we might even come to enjoy.
As if Borges wrote The DecameronDuring an atomic alarm in Barcelona in the year 2025, the thirty-year old hero takes refuge in a luxurious mansion in the mountains where he is put up, along with other guests, awaiting the outcome of the conflict. For the following seven days the residents of the mansion spend their spare time reading and taking walks , and, above all, telling stories to each other. The narrators (most of whom belong to the generation thirty years older than the hero's) are eight in number, and the stories they tell can be taken as autonomous ones, although, as the novel advances, it may soon be that when juxtaposed, they do indeed weave a web of intrigue about a family of bankers—a web that gradually involves some of the guests in the mansion.
Aldous Huxley's lifelong concern with the dichotomy between passion and reason finds its fullest expression both thematically and formally in his masterpiece Point Counter Point. By presenting a vision of life in which diverse aspects of experience are observed simultaneously, Huxley characterizes the symptoms of "the disease of modern man' in the manner of a composer—themes and characters are repeated, altered slightly, and played off one another in a tone that is at once critical and sympathetic.First published in 1928, Huxley's satiric view of intellectual life in the '20s is populated with characters based on such celebrities of the time as D. H. Lawrence, Katherine Mansfield, Sir Oswald Mosley, Nancy Cunard, and John Middleton Murray, as well as Huxley himself. A major work of the twentieth century and a monument of literary modernism, this edition includes an introduction by acclaimed novelist Nicholas Mosley (author of Hopeful Monsters and the son of Sir Oswald Mosley).Along with Brave New World (written a few years later), Point Counter Point is Huxley's most concentrated attack on the scientific attitude and its effect on modern culture.
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