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Editor's note/An interview with Gerald Murnane by Antoni Jach/Looking for Writers Beyond Their Work by John Griswold/Five Silhouettes by Luis Chitarroni (translated by Sarah Denaci)/Seven and a Half Studies by S.D. Chrostowska/Nine Suppositions Concerning "Bouvard and Pecuchet" by Jacques Jouet (translated by E.C. Gogolak)/Irrationality, Situations, and Novels of Inquiry by Thalia Field/Margins and Mirrors by Warren Motte/The Colon by Lily Hoang and Bhanu Kapil/The Fragile Shelter of the Declarative: On Edouard Leve by Adrian West/Transgressive Autofictions by Jacques Houis/Contributors/Translators/Acknowledgments/Book Reviews/Books Received/Annual Index

A moving contribution to the tradition of the metaphysical novel as exemplified by Dostoyevsky and Bernanos, and likewise a worthy counterpart to the vibrant and polyphonic work of fellow Iberians Camilo Jos? Cela and Juan Goytisolo, "The Sea" is a cornerstone of postwar Catalan literature. Set in a tubercular sanatorium in Mallorca after the Spanish Civil War, it tells the story of three children sharing a gruesome secret who are brought together again by chance and illness -- two patients and one nurse. A love triangle, a story of retribution, and an exploration of evil, "The Sea" is "a profound and radical descent into the depths of the human soul." (Gerard de Cortanze)

On Wing, the first published work of fiction by the Slovak poet-philosopher Robert Gal, is a constellation of hundreds of aphorisms, dreams, anecdotes, and inquiries, all written in a restless, searching, "improvisational" prose whose techniques reflect those of Bernhard, Nietzsche, and Kierkegaard, not to mention the saxophonist and composer John Zorn, who makes a brief cameo as a character.

The narrator of this novel is Ballerina, a fifteen-year-old with the cognitive faculties of a child, and each of its fifteen chapters begins with her first wetting her bed and thereby greeting a new day. Drawing comparison to William Faulkner in its expressionistic depiction of Ballerina's interior world, this is a classic of contemporary Slovenian literature: a hugely popular exploration of a character whose world is so divorced from what we think of as reality.

Wolfgang Koeppen is the most important German novelist of the past seventy years: a radical, not to say terrifying, stylist; a caustic, jet-black comedian; a bitter prophet. His late, autobiographical work--the short, intense autofiction, Youth, translated here for the first time--is a portrait of the little north German town of Greifswald before World War I, and is a miracle of compression: this is not historical fiction, but a kind of personal apocalypse. Also included here, in Michael Hofmann's brilliant translation, is one of Koeppen's very last works: a short, fragmentary text spoken over a 1990 German television program depicting his return visit to the town of his schooldays.

A forlorn traveler is taken in by three suffering orphans, who, in the midst of their pain, give him food and shelter. The first, orphaned by history, still mourns a father who was sent to a Nazi concentration camp, never to return. The second, orphaned by pathology, has a rare disease, and is facing madness alone in a mountain chalet. The third, orphaned by philosophy, is a teenager who has decided to cut all ties with his parents.Never one to avoid challenging questions, in this poignant triptych Laroche examines the relationship between a writer and his words: suggesting that, perhaps, he is the orphan of his own work.

A bevy of mediocre writers are invited to a seminar aboard a specially chartered train, and this novel tracks their progress across Europe: bitter, bickering, and self-absorbed. Aboard this Literature Express is a Georgian author whose love for the wife of his own Polish translator seems as doomed as his hopes for international success; worse still, it seems all the novelists congregated on The Literature Express intend to write their next books about their time on the train... Can our Georgian author compete? Is there any hope for contemporary literature, or, barring that, at least his own little love affair? "The Literature Express" is a riotous parable about the state of literary culture, the European Union, and our own petty ambitions--be they professional or amorous.

In normal, everyday tones, a story is told by the perpetrator of triple incest: first with his mother as a child and a young man, then with his daughter as he grows into mature manhood, and finally with his sister in middle age. This primeval fairytale burns with an icy passion as the narrator switches roles along with familial relationships. The quasi-metaphysical lucidity with which he pursues his odd fate is eerie, particularly in light of his apparent innocence as to the perverse nature of his taboo attachments, and the theatrical artifice with which he pursues them. In the end, his passionate desire is so earnest that the reader is left to wonder if he is truly a monster or an innocent: who is directing whom?

Aged twenty, and with no war experience, Nicholas Mosley found himself in charge of a platoon of men positioned along the Italian front during the Second World War. With his father in prison on charges of treason, he had enlisted primarily in an effort to improve his family image. But the war left Mosley a radically changed man: he had gone in out of personal convenience, and left with a sense of greater purpose. Saved from death by one of his men, holed up in barns and trenches and tents, and marching across Europe, Mosley found in war a certainty that eluded him in peacetime. "War is both senseless and necessary, squalid and fulfilling, terrifying and sometimes jolly," he writes. "This is like life. Humans are at home in war (though they seldom admit this). They feel they know what they have to do." In an interview conducted between 1977 and 1978, Nicholas Mosley said, "When I was young William Faulkner was my great love, not just because of the density of style, but because he seemed to be dealing with the question not of what will happen next but what is happening now. The first Faulkner novel I read was The Sound and the Fury, which I got hold of when we liberated a POW camp in Italy in 1944 and I liberated the Red Cross Library. I was about twenty.... What in god's name, after all, was I doing aged twenty in Italy in a war?"

An exile returns to Spain from France to find that he is repelled by the fascism of Franco's Spain and drawn to the world of Muslim culture. In Marks of Identity, Juan Goytisolo, one of Spain's most celebrated novelists, speaks for a generation of Spaniards who were small children during the Spanish Civil War, grew up under a stifling dictatorship, and, in many cases, emigrated in desperation from their dying country. Upon his return, the narrator confronts the most controversial political, religious, social, and sexual issues of our time with ferocious energy and elegant prose. Torn between the Islamic and European worlds around him, he finds both ultimately unsatisfactory. In the end, only displacement survives.

A retired academic and writer is becoming a media celebrity of sorts, appearing on various talk shows to voice his controversial views on human nature and war. While in New York to make such an appearance, he becomes the victim of a hit-and-run--set up by the CIA? the FBI? terrorists?--and ends up confined to a hospital bed. This forced inactivity allows him to reflect on his life--the work he has done, the women he has known--as various people from his life gather around him, including both his first and second wives. Reminiscing about his past while dealing with his present, the man begins to see his provocative ideas about fidelity, sin, and grace play themselves out in a virtuosic way that could only be conceived by Nicholas Mosley.

Hidden behind a cloak of exotic mystery, Cuba is virtually unknown to American citizens, G. Cabrera Infante--in Infante's Inferno and several of his other novels--allows readers to peek behind the curtain surrounding this island and see the vibrant life that existed there before Fidel Castro's regime. Detailing the sexual education and adventures of the author, Infante's Inferno is a lush, erotic, funny book that provides readers with insight into what it was like to grow up in pre-revolutionary Havana. Viewing every girl as a potential lover, and the movies as a place both for entertainment and potential sexual escapades, Cabera Infante captures the adolescent male mindset with a great deal of fun and self-consciousness. With his hallmark of puns and wordplay--excellently translated by Suzanne Jill Levine--Cabrera Infante has a hilariously updated of the Don Juan myth in a tropical setting.

Breaking the law in a foolhardy attempt to accommodate his customers, unscrupulous department store owner Leo Feldman finds himself in jail and at the mercy of the warden, who tries to break Leo of his determination to stay bad.

Like many of Shklovsky's works, Third Factory cannot be neatly classified. In part it is a memoir of the three "Factories" that influenced his development as a human being and as a writer, yet the events depicted within the book are fictionalized and conveyed with the poetic verve and playfulness of form that have made Shklovsky a major figure in twentieth-century world literature. In addition to its fictional and biographical elements, Third Factory includes anecdotes, rants, social satire, literary theory, and anything else that Shklovsky, with an artist's unerring confidence, chooses to include.

Told almost exclusively through dialogue, Konfidenz opens with a woman entering a hotel room and receiving a call from a mysterious stranger who seems to know everything about her and the reasons why she has fled her homeland. Over the next nine hours he tells her many disturbing things about her lover (who may be in great danger), the political situation in which they are enmeshed, and his fantasies of her. A terse political allegory that challenges our assumptions about character, the foundations of our knowledge, and the making of history, Konfidenz draws the reader into a postmodern mystery where nothing--including the text itself--is what it seems. First published by Farrar, Straus and Giroux (1995), most recent paperback Vintage (1998).