small pieces is a collaboration between novelist, Micheline Aharonian Marcom, and writer and visual artist Fowzia Karimi, pairing Marcom’s short stories, or “miniatures” as Marcom calls them—prose pieces of one page or less—with watercolors done by Karimi. The work is a conversation between two artists in text and image, side by side.
Hilda Doolittle operates primarily as a mythopoetic writer, rewriting the eternal dramas of myth into self-knowledge. She showcases female characters acting as Promethean boundary makers, speaking a newlanguage into being. H.D.'s Dramatic Poetics illuminates how the creation of theatrical work functions as animportant imaginative gateway, or portal, in the discovery of new poetic forms. It seeks, moreover, toenlarge feminist critical discussions of how a feminist visionary like H.D. contributes to what femalenarratives sound like both in lyric and theatrical traditions.
Widely regarded as Sorrentino's finest achievement, Mulligan Stew takes as its subject the comic possibilities of the modern literary imagination. As avant-garde novelist Antony Lamont struggles to write a "new wave murder mystery," his frustrating emotional and sexual life wreaks havoc on his work-in-progress. As a result, his narrative (the very book we are reading) turns into a literary "stew" an uproariously funny melange of journal entries, erotic poetry, parodies of all kinds, love letters, interviews, and lists—as Hugh Kenner in "Harper's" wrote, "for another such virtuoso of the List you'd have to resurrect Joyce." Soon, Lamont's characters (on loan from F. Scott Fitzgerald, Flann O'Brien, James Joyce, and Dashiell Hammet) take on lives of their own, completely sabotaging his narrative. Sorrentino has vastly extended the possibilities of what a novel can be in this extraordinary work, which both parodies and pays homage to the art of fiction.
Proving himself yet again a master of every form, Barth conquers in his latest the ruminative short essay—“jeux d’esprits,” as Barth describes them. These mostly one-page tidbits pay homage to Barth’s literary influences while retaining his trademark self-consciousness and willingness to play.
In a small village on the southern coast of Crete, the narrator meets a young man who tells him a history of his journey which took him from Prague as far as to the Libyan sea. It is a voyage to uncover mysterious deaths of two brothers: one was murdered during the ballet performance, the body of the second one was found by Turkish fishermen at the Asia Minor shores. On the move, the amateur detective is accompanied by one of the brothers´ girlfriend. They have to work out a lot of traces, clues and rebuses – seemingly meaningless clusters of letters in the picture of a Hungarian painter, fragments of words created in the sea by bodies of phosphorescing worms, puzzling shapes of jelly sweets found in a small shop in Croatia or the plot of an American sci-fi thriller movie, which the protagonists watch in the cinema in Rome suburb. Such leads send the heroes from town to town, the plot takes part on night trains and many places in Europe - in Bratislava, Budapest, Lublan, on the islands of Mykon and Crete… With the search for the murderer of both the brothers many other stories are interconnected, and they take the readers to even more distant places of the Earth: Moscow, Boston, Mexico City…
A National Book Award winner, this bawdy, comic trio of novellas finds John Barth injecting his signature wit into three tales many times told: that of Scheherazade, storyteller of the Thousand and One Nights; of Perseus, slayer of Medusa; and of Bellerophon, rider of Pegasus and slayer of the Chimera.
A Gogolian nightmare from the point of view of a small-town English professor.The Mad Diary of Malcolm Malarkey is a kind of post-modern May-December black comedy about the 60ish, cancer-stricken Oxford educated, Irish English literature professor, Malcolm Malarkey who falls in love with the beautiful, 30ish Italian returning graduate student, Liliana Liliano, who, by then, has tragically lost her husband in an auto accident. Malarkey has no respect for things that are politically correct and often runs into problems with the administration if not the local police, while Liliana. after years of trying to crack the glass ceiling, quits the corporate world and returns to university to pursue her passion: literature. After a relatively quick relationship they fall in love. Though they have much in common and they truly love each other, the potential stumbling block for them is her desperation to get pregnant, especially since she has already had a miscarriage not long before her husband died. Malarkey has already raised a family, and is still ceaselessly harassed by his Brazilian ex and her bevy of blood-sucking barristers, and the thought of starting a family again and potentially leaving Liliana a widow for a second time with a young child, is a major dilemma for him. Try as he might to salvage the relationship, Malarkey eventually loses Liliana because of his multiple impotencies. Though Malarkey loves Liliana deeply, madly, she eventually breaks it off. True love may last forever, but eggs do not. Months after her separation, Liliana meets and marries a Florentine who, in rapid succession, impregnates her with the children she most desires. Though Malarkey realizes the break was the best for her, it wasn’t for him and he tries in earnest to move on with his feckless existence, but not before telling her he’ll love her forever.
From the man Arturo Pérez-Reverte has called “the most talented young Russian author” comes this extraordinary family saga, a journey into the depths of the human soul.The Round-dance of Water is a detailed portrait of three generations of a large family, but in this story there is no division into primary and secondary characters: each individual fate carries its weight and runs into the bloody river of the twentieth century. The novel drifts between years, tones, and styles, and the range of its influences is overwhelming, ranging from Rudyard Kipling to Andrei Platonov and Daniil Kharms, from gangster movies to Japanese anime.
"Here is the great Irish novel of Berlin, way back before the Wall came down. Dallan Weaver, a writer and professor who's been fãeted and flattered but has seen better days, has come to the great divided city as a guest of DILDO (Deutsche-Internationale Literatur-Dienst Organization). On arriving, Weaver's life immediately begins to fall apart. Women fight over him. He is not always in the soberest state of mind. Moving from relatively conventional narrative to deliriously long lists, incorporating everything from children's drawings to minute recollections of dreams, Lions of the Grunewald is--in the author's own words--a "missionary stew," marvelously served up in Aidan Higgins's inimitable style."--
Originally published in 1968, The Secret Crypt is a cult classic of Mexican literature, waiting to be rediscovered.
From Museum of Modern Art editor Emily Hall, a debut novel in the first person about the place of art and the artist in the world.
Similarly four complete poetry books and a selection of new poems and sequences—samples the ongoing project of C. S. Giscombe’s long, long song of location and range. In all the work collected here, location is a practice; range is the fact of the serial, the figuring of continuous arrival. The writing speaks to rivers, the souls of city life, animals, the counted and uncounted, the many instances that might indicate “a shape to all that sound,” monstrosity and argument (the latter defined, with a hat-tip to Frankenstein, as “a thing that becomes terrifying to its maker”), and the colors of human migration, these things among others. In the “Cry Me a River” poem, Giscombe writes, "for the sake of argument, say that the shape of a region or of some distinct areas of a city could stand in for memory and that it—the shape is a specific value because it’s apparent and public, and that way achieves an almost nameless contour."
In addition to his novels and stories, Aidan Higgins--one of Ireland's most respected contemporary writers--has written a large body of criticism. Windy Arbours includes pieces written between 1970-1990 and is the first collection of his reviews to be published. Incredibly well-read, Higgins covers writers from around the world, from relatively well-known authors such as William Faulkner, Djuna Barnes, and Jorge Luis Borges, to more obscure writers such as Ralph Cusack and Dorothy Nelson. Serving as an informative guidebook about contemporary fiction, Higgins's criticism is always insightful, and oftentimes entertainingly acerbic.
Elegy for Joseph Cornell is at once a monologue; a collection of metafictional microfictions; a series of prose poems; an artist¿s quest; the herös journey; a filmography, biography, bibliography, and inventory; a travel scrapbook; and a guidebook for creativity. Argentinian writer María Negroni transcends form and genre as she explores, with both luminous and illuminating results, the life of Joseph Cornell, a solitary urban artist whose work also defied conventional classification.
The poems in this collection were written between 2007 and 2020. When asked to describe the poems here, Ishmael Reed wrote: ' The poems are based on events that occurred around the house to cataclysmic space events.'
A new collection of poems from the AmericanpoetTennesseeReed.From "California Burning 2017-2018"Will smoke days become the West's new snow days?When an early morning dagger of red lightcuts through my curtainsI think of what I want to save in case I have to evacuate
The time is the twilight of the decrepit Brezhnev regime, the place, the Soviet Socialist Republic of Moldavia: the "Latin periphery of empire." A pensioner seeks justice for his dead wife, crushed by a falling crane--the very symbol of the "construction of socialism"--but comes up against hostility from a cynical system at best indifferent, at worst contemptuous of human life. With a keen, Gogolian eye for the grotesque, often squalid, details of everyday life in the USSR, Iulian Ciocan paints darkly humorous but compassionate portraits of Homo sovieticus, from crusty war veterans and lowly collective farm workers to venal Party bigwigs, as each comes to the disturbing realization that the lofty ideals of Soviet society were lies all along. And for idealistic young pioneer Iulian, the biggest disillusionment of all will be the abrupt revelation of Brezhnev's mortality.
collection of previously published and unpublished storiesDumitru Tsepeneag exiled because of this controversial writing style
The End of the World Would Not Have Taken Place is Czech author Patrik Ourednik's second work originally written in French. Like the author, the narrator is a writer and translator writing a book about the end of the world, in which he reflects on life, death, war, and divine action to form a biting social critique.
Amanda Michalopoulou's God's Wife is a deceptive novel: it draws us close with promises of titillating confession and heart-warming intimacy only to send us on a conceptual scavenger hunt that probes the ethics of reading, writing, and the unspoken conventions of literary mastery. "It sounds like a lie, but I am His wife," is the arresting opening declaration made by the novel's unnamed narrator, who will always be known through her role as an appendage, "at His side." This premise-bringing to mind as it does the very origins of the western novel: epistolary novels of romance as both salvation and captivity-immediately also raises issues of power, domination, truth and belief. God's Wife, then, is ultimately a meditation on the power of literature to create a space of imaginative play. It is a love story, a philosophical treatise on the nature of faith and divinity, a self-conscious meditation on the nature of writing and creativity, and a feminist tract all rolled into one. What holds all these strands together is what can only be described as the compelling authenticity of the narrator's voice and her relentless focus on the role of femininity as performance and convention in literature. Her voice is, of course, shaped by Michalopoulou's inimitably spare, elegant and masterfully evocative prose, which like the narrator's mother's brand of storytelling, uses few words and eschews didacticism.
With each chapter embodying a separate Commandment, Living Tissue, 10x10 is both a Decalogue and a ribald, exuberant, deliriously inventive postmodern Decameron, which covers four decades in the life of the protagonist, unfolding against the backdrop of Soviet and post-communist Moldova, from the untimely death of Yuri Gagarin in 1968 to the so-called "twitter revolution" of 2009. Tens of tragical, comical, fantastical, historical tales intertwine, punctuated by the endless upheavals suffered by twentieth-century Moldova. But the narrative also takes euphoric flight, in episodes that travel as far afield as Paris, Moscow, and Tibet. In Living Tissue. 10x10, Emilian Galaicu-Päun engages in literary origami, bending and blending together real and fictional worlds, abolishing up and down, here and there, past and present, as if in an Escher engraving, alternating narrative techniques, braiding myth, history and literary allusion, transgressing the boundaries of languages and cultures to create a rapturously intricate novel in ten dimensions.
In Pisa, Italy, an Armenian immigrant named Marco Iprannossian sits in jail awaiting judgment on the attempted murder of a local official.The novel opens on the first day of his hearing-three years after his arrest-and follows the lives of Marco, his friends on the outside, the judge presiding over this case, her husband, and their teenage daughter, Lea. Through deceptively structured as a crime novel, Quarry's real concerns are both far smaller and far larger than those of a typical whodunit.Houdart's modern tale, presented in a series of brief, elliptical snapshots, is a precision-cut gem of literary minimalism.
* A book of hallucinatory narratives-à la Cortázar or Bioy Casares-about subjects as various as slave rebellions and flying worms made of ash attacking human civilization
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