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"e;A remarkably funny book written by a remarkable pair of collaborators."e;New York TimesOstap Bender, the "e;grand strategist,"e; is a con man on the make in the Soviet Union during the New Economic Policy (NEP) period. He's obsessed with getting one last big scorea few hundred thousand will doand heading for Rio de Janeiro, where there are "e;a million and a half people, all of them wearing white pants, without exception."e;When Bender hears the story of Alexandr Koreiko, an "e;undercover millionaire"e;no Soviet citizen was allowed to openly hoard so much capitalthe chase is on. Koreiko has made his millions by taking advantage of the wide-spread corruption and utter chaos of the NEP, all while serving quietly as an accountant at a government office and living on 46 rubles a month. He's just waiting for the Soviet regime to collapse so he can make use of his stash, which he keeps hidden away in a suitcase.Ilya Ilf (18971937) and Evgeny Petrov (19031942) were the pseudonyms of Ilya Arnoldovich Faynzilberg and Evgeny Petrovich Katayev, a pair of Soviet writers who met in Moscow in the 1920s while working on the staff of a newspaper that was distributed to railway workers. The foremost comic novelists of the early Soviet Union (invariably referred to as Ilf & Petrov), the pair collaborated together for a dozen years, writing two of the most revered and loved Russian novels, The Twelve Chairs and The Golden Calf, as well as various humorous pieces for Pravda and other magazines. Their collaboration came to an end following the death of Ilya Ilf in 1937he had contracted tuberculosis while the pair was traveling the United States researching the book that eventually became Little Golden America.Konstantin Gurevich is a graduate of Moscow State University and the University of Texas at Austin. He translates with his wife, Helen Anderson. Both are librarians at the University of Rochester.Helen Anderson studied Russian language and literature at McGill University in Montréal. She translates with her husband, Konstantin Gurevich.

strange and twisted characters populate the pages of Why, Why, Why?, a delectable brew of dark humor and biting satire on human relationships. In these stories, the characters don t start falling until they know they re off the cliff. By then, rock bottom isn t a long way off. Another stunning entry from Catalan s greatest contemporary writer, Monzì s stories dust themselves off and speed on to their next catastrophe.

Winner of the 2015 Best Translated Book AwardIn Mother River, Can Xue, one of China’s most daring and visionary writers, invites us into a surreal landscape where reality is as fluid as a river itself. This collection of thirteen stories weaves together vivid, dreamlike narratives that challenge our perceptions of time, identity, and existence. Through her signature blend of the absurd and the profound, Can Xue explores the fragile boundaries betwen the known and unknown, between humanity and nature. In these tales, a man tries to chase down an ellusive golden peacock, a woman communicates with mysterious, shifting forms of light,  and the river that runs through a small village seems to pulse with memories of its own.Surreal, provocative, and unique, Mother River reinforces Can Xue’s status as one of the most rewarding and complex writers working today—and a perennial favorite to win the Nobel Prize.

Winner of the Inaugural Armory Square Prize for TranslationThe Kettledrum and Other Stories introduction the extraordinary voice of renowned Urdu novelist, short story writer, playwright, and critic Siddique Alam. He is considered to be a modern master, whose introduction of fantastical elements into his narratives and experimental techniques (especially in his plays) have garnered him critical acclaim and popular success. With each story in the collection he creates a unique territory revealing a deeply curious mind, and an master craftsman whose care and regard for the worlds of his stories imbues them with a rare authenticity. From the animistic tales of Adivasi tribespeople,and the interplay of complex relationships between broken people, to the complexities of lives lived on the fringe, Alam is able to create characters and events that function on the level of myth and archetype.As we navigate Alam’s complex, intricate fictional worlds, we encounter both a multitude of emotional universes imagined or drawn from keenly observed life, and nightmarish abstractions.

Sanki Saitō (1900–1962), born Keichoku Saitō in Tsuyama, Japan, was a pioneering short story writer and poet whose bold, modern haiku challenged the conventions of his time. As a key figure in the New Rising Haiku movement of the 1930s, Sanki redefined the boundaries of haiku by breaking with the strict traditionalists who insisted on “season words” and the direct observation of nature. In their place, Sanki and his peers opened haiku to imagined experience, infusing it with radical new perspectives that would forever transform the form.Writing under the pen name Sanki, meaning “Three Demons,” his reputation as a literary maverick grew rapidly. His radical, inventive approach to haiku, however, also made him a target of Japan’s militaristic government. In 1940, Sanki was imprisoned as part of the wartime crackdown on dissident artists and writers, and he was officially silenced—banned from writing or publishing his work.Three Demons brings together Sanki's most evocative haiku, meticulously curated and beautifully translated by Ryan Choi. Drawing from five of Sanki’s collections—Flags (1940), Night Peaches (1948), One Hundred Haiku (1948), Today (1952), and Transformations (1962)—this anthology introduces readers to the revolutionary spirit and emotional depth of a poet who helped redefine one of Japan’s most treasured literary traditions.

Winner of the Neustadt International Prize for LiteratureAs with the rest of her literary career, Dubravka Ugresic's final work, A Muzzle for Witches, is uncategorizable. On its surface, the book is a conversation with the literary critic Merima Omeragić, covering topics such as "Women and the Male Perspective," "The Culture of (Self)Harm," and "The Melancholy of Vanishing." But the book is more than a simple interview: It's a roadmap of the literary world, exploring the past century and all of its violence and turmoil—especially in Yugoslavia, Ugresic's birth country—and providing a direction for the future of feminist writing. One of the greatest thinkers of the past hundred years, Ugresic was one-of-a-kind, who novels and literary essays pushed the bounds of form and content, and A Muzzle for Witches offers the chance to see her at her most raw, and most playful.

Winner of Spain’s Premio Nacional de Narrativa in 2023“A funerary poem about a bird flying underground; a psychodrama of two sisters drowning in the mirror of memory; a center of a necrophilic labyrinth; Virginia Woolf’s Rhoda lost in John Hawkes’s Travesty. Pilar Adon’s novel is the most haunting I have read in years.”—Mircea Cărtărescu, winner of the Dublin Literary Award Summer is ending and Coro, an artist frightened of what her paintings of her dead sister may represent, gets in her car one night and starts to drive, with no plan or destination. After a wrong turn down a narrow dirt road, she runs out of gas outside the gates of a large and isolated house called Bethany, a place inhabited exclusively by a small group of women who seem to exist in a closed, hierarchical system a world apart. The women of Bethany live closely with the natural and animal world, celebrate rites and rituals, and, like devotees of an ancestral cult, all dress the same. Most unsettlingly, they seem to know who Coro is already. In fact, they have been expecting her. How the women came to live in Bethany, why they believe Coro is destined to be there, and most pressing, why won’t they let her leave are questions Coro must face as she struggles between the instinct to escape and the sense that something larger is at work. When Bethany’s careful balance is disturbed—with violent consequences—by the appearance of a mysterious man who claims the house and land are his, Coro will find herself forced to meet her own ghosts, reckon with her choices, and accept that Bethany might just be where she belongs. Winner of Spain’s Premio Nacional de Narrativa in 2023, Of Beasts and Fowls introduces a grand talent new to English audiences in a haunting novel rife with natural descriptions, signs and symbols, and a sense of the uncanny.

Winner of the 2018 Best Translated Book AwardA dying father in the grip of fever and delirium recounts his youth, his Grand Tour, the Venetian palaces populated by fascinating and evil figures, his ruin, and his most beautiful journey—the crossing on foot of the frozen Hudson River. His son, still a child, sits at the foot of the bed, attentively collecting these final, hallucinated words.Could the work of Herman Melville—masterful author, misunderstood, far too ahead of his time, and considered crazy and dangerous by some critics—have as its source this ultimate paternal legacy?Questioning the intricacies of fiction, which constantly oscillatates between reality and imagination, Rodrigo Fresán’s approaches the enigma of the literary vocation in a new light. An invented biography, a gothic novel populated by ghosts, and an evocation of a filial love, Melvill contains all the talent, humor, and immense culture found in the other great works from one of Spanish literature's most ambitious writers.

Rina is a defector from a country that might be North Korea, traversing an "empty and futile" landscape. Along the way, she is forced to work at a chemical plant, murders a few people, becomes a prostitute, runs a lucrative bar, and finds a solace in a motley family of wanderers all as disenfranchised as she. Brutal and unflinching, with elements of the mythic and grotesque interspersed with hard-edged realism, Rina is a pioneering work of Korean postmodernism.

On the eve of the 1962 World Cup in Chile, a retired sports commentator with a secret ability to influence living beings with his voice encounters one of the directors of the Chilean national team—a feminist with a covert agenda—on an overnight train ride to Santiago. The director convinces the commentator to return to broadcasting in order to call Chile's matches and to utilize his unique vocal power to determine their outcomes. Later, when Chile is facing off against Brazil in the semifinal match, the plan diverges from one of conventional victory and the narrative bifurcates, simultaneously tracking the action on the field and a startling sequence of events that is unfolding in one of the stadium’s luxury boxes, and what initially looks like a story of intrigue and action and an exploration of class warfare, representation, and social justice, emerges as a novel that enacts the notion that art can only transcend through collective creative action.  Within the world of Carlos Labbé’s fiction, this novel can be understood as a continuation and broadening of the political project signaled in his early work and a doubling-down on the formal playfulness and elusive sensibility that characterizes all of his fiction. Popular forms and genres (from science fiction and journalism in Navidad & Matanza, to detective fiction in Loquela, to pop music and protest movements in Spiritual Choreographies) have always been integral to Labbé's oeuvre, and with The Murmuration he engages the world of professional soccer, making his most direct appeal to the masses yet.

From the internationally acclaimed author of One Hundred Shadows and I’ll Go On Years and Years opens with the elderly Yi Sunil, devoted housewife and mother of three, making her annual pilgrimage to a remote village in South Korea to visit her grandfather’s grave—likely for the final time. What follows is a multigenerational exploration of desires thwarted by societal obligations and mores for the women in this family.Sejin, the middle child, keeps her sexuality closeted, while her older sister, Yeongjin, finds herself financially responsible for the rest of the family, forcing her to give up on her personal dreams. Meanwhile, the youngest, Mansu, leaves the family for New Zealand, where he is free to pursue his own career and life, ironically supported by the sacrifices of his mother and sisters.Tracing the lives of the family’s three women, Years and Years exposes the ways in which, despite the empathy we harbor for our loved ones, we inevitably trap one another in particular roles, while also illuminating our resolve to carry on through the constraints of time and tradition.

When truth is more gruesome than fiction—Ha Seong-nan is there. When people give in to their most intrusive thoughts—Ha Seong-nan is there. When man is more animal than animals themselves—Ha Seong-nan is there. In Wafers, her third short-story collection to appear in English, Ha continues to weave troublesome coincidences into the seemingly banal in her signature style of engrossing and unsettling prose. A best-seller in Korea, Ha Seong-nan is one of the stars of contemporary short fiction, writing edgy, socially conscious stories that bring to mind the novels of Han Kang and the film Parasite.

"As his weapon, he developed a private investigator who is already at the scene or in the immediate vicinity when foul play takes place, so that the perp can be caught redhanded and the case quickly solved, thus offering crime fiction to people who don't have the time to read long books, or who simply hate to read, but love crime."--

"Gorgonowa, a governess having an affair with her employer, was accused of brutally murdering his daughter, the 17-year-old Lusia on New Year's Eve in 1931. Despite her claims of innocence, Gorgonowa was declared Poland's ultimate villain, and eventually convicted. But questions remain about this case--the most notorious murder trial of the Second Polish Republic--along with questions about what exactly happened to Gorgonowa post-World War II."--

"The Culture of Lies is one of the most intelligent and lucid accounts of an appalling episode in history. It shows us the banality and brutality of nationalism and the way that nationalistic ideology permeates every pore of life."--

A haunting novel of grief from one of Argentina's greatest modernist writers.

Giving voice to people living on the periphery in post-communist Bulgaria, Four Minutes centers around Leah, an orphan who suffered daily horrors growing up, and now struggles to integrate into society as a gay woman. She confronts her trauma by trying to volunteer at the orphanage, and to adopt a young girla choice that is frustrated over and over by bureaucracy and the pervasive stigma against gay women.In addition to Leah's narrative, the novel contains nine other standalone character studies of other frequently ignored voices. These sections are each meant to be read in approximately four minutes, a nod to a social experiment that put forth the hypothesis that it only takes four minutes of looking someone in the eye and listening to them in order to accept and empathize with them.A meticulously crafted social novel, Four Minutes takes a difficult, uncompromising look at modern life in Eastern Europe.

In exile from his home country of Peru, Ricardo Funes embodies the ultimate starving artist. Fired from almost every job he's held-usually for paying more attention to literature than work-he sets himself up in a rundown shack where he works on writing stories to enter in regional contests across Spain, and foisting his judgements about literature on anyone who will listen as one of the last remaining members of the "e;negacionismo"e; poetry movement. Completely dedicated to an unwavering belief in his own art, Funes struggles in anonymity until he achieves unbridled success with The Aztec and becomes a legend . . . at least for a moment. Diagnosed with lung cancer a few years later, Funes will only be able to enjoy his newfound attention for a short time.Told through the voices of Funes's best friend, his wife, and himself, Last Words on Earth looks at the price-and haphazard nature-of fame through the lens of a Bolano-esque writer who persevered just long enough to be transformed out of obscurity into being a literary legend right at the end of his life.

Tassili, Goodmann, and Myriam. Two men and a woman dressed in rags—former poets, and former members of a dystopian military service—walk the bardo, the dark afterlife between death and rebirth. The road is monotonous and seemingly endless. To pass the time, they decide to tell each other stories: bizarre anecdotes set in a post-apocalyptic world, replete with mutant creatures, Buddhist monks, and ruthless killers. The result is a mysterious, dreamlike series of events, trapped outside of time as we know it, where all the rules of narrative are upended and remade.Lutz Bassmann is one of the heteronyms of French author Antoine Volodine. Black Village gives readers of science fiction and experimental literature another exciting look into "e;post-exoticism,"e; one of the most ambitious and original projects in contemporary literature.

"e;Pilch's antic sensibility confirms that he is the compatriot of Witold Gombrowicz, the Polish maestro of absurdist pranks. But readers with a taste for the fermented Irish blarney of Flann O'Brien, Samuel Beckett, and John Kennedy Toole might also savor Pilch."e;Barnes & Noble ReviewNeither strictly a collection of stories nor a novel, the ten pieces that comprise My First Suicide straddles the line between intimate revelation and drunken confession. These stories reveal a nostalgic and poetic Pilch, one who can pen a character's lyrical ode to the fate of his father's perfect chess table in one story, examine a teacher's desperate and dangerous infatuation with a student in the next, and then, always true to his obsessions, tell a remarkably touching story that begins by describing his narrator's excitement at the possibility of a three-way with the seductive soccer-fan, Anka Chow Chow.The stories of My First Suicide combine irony and humor, anecdote and gossip, love and desire with an irresistibly readable style that is vintage Pilch.Jerzy Pilch is one of Poland's most important contemporary writers and journalists. In addition to his long-running satirical newspaper column, Pilch has published several novels, and has been nominated for Poland's prestigious NIKE Literary Award four times; he finally won the Award in 2001 for The Mighty Angel. His novels have been translated into numerous languages.David Frick is a professor in the Department of Slavic Languages and Literatures at the University of California, Berkeley.

Eleven Sooty Dreams could also have been called Meeting at Bolcho Pride, or Fire Deep Down Below, or Station in the Heart of the Flames, or Granny Holgolde's Stories, or The Liars' Bridge, or Eve of Battle After the Defeat, or Never Without My Embers, or Good-Bye to Death, or Fire Stories, or Terminal Childhoods, or Granny Holgolde's Childish Sickness, or Even the Nursing Home Is in the Line of Fire.In Manuela Draeger's poetic 'post-exotic' novel, a group of young leftists trapped in a burning building after one year's Bolcho Pride parade plunge back into their childhood memories, trading them with each other as their lives are engulfed in flames. They remember Granny Holgolde's stories of the elephant Marta Ashkarot as she travels through the Bardo, to find her home and be reincarnated again and again. They remember the Soviet folk singer Lyudmila Zykina and her melancholic, simple songs of unspeakable beauty. They remember the half-human birds Granny Holgolde called strange cormorants, the ones who knew how to live in fire, secrecy, and death, and as the flames get higher they hope to become them.Draeger, a heteronym for the acclaimed French writer Antoine Volodine, and a librarian in a dystopic prison camp, gives post-exoticism an element of tenderness, and a sense of nostalgia for children's tales, that is far less visible in the other authors' works. Eleven Sooty Dreams is her first book written for adults, a moving story of the constancy of brotherly, loving faithfulness.

A faux-historical romp about a real-life conquistador who founded New Catalonia in the wilds of Venezuela.

The previously untold story of the plot to kick Michel Foucault out of Poland in the 1950s.

"e;When you live in an adopted country, when you're an exile in your own body, names are simply lists that dull the reality of death."e;Cars on Fire, Monica Ramon Rios's electric, uncompromising English-language debut, unfolds through a series of female characters-the writer, the patient, the immigrant, the professor, the student-whose identities are messy and ever-shifting. A speechwriter is employed writing for would-be dictators, but plays in a rock band as a means of protest. A failed Marxist cuts off her own head as a final poetic act. With incredible formal range, from the linear to the more free-wheeling, the real to the fantastical to the dystopic, Rios offers striking, jarring glimpses into life as a woman and an immigrant. Set in New York City, New Jersey, and Chile's La Zona Central, the stories in Cars on Fire offer powerful remembrances to those lost to violence, and ultimately make the case for the power of art, love, and feminine desire to subvert the oppressive forces-xenophobia, neoliberalism, social hierarchies within the academic world-that shape life in Chile and the United States.