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This volume collects new short stories from one of Ireland’s leading writers in both the Irish and English languages. Eilis Ni Dhuibhne’s stories are widely acclaimed for their acute perception of Irish women’s lives, the power of her verbal economy, and her skillful and unique use of both humor and the fantastic.
Trilogy is Jon Fosse’s critically acclaimed, luminous love story about Asle and Alida, two lovers trying to find their place in this world. Homeless and sleepless, they wander around Bergen in the rain, trying to make a life for themselves and the child they expect. Through a rich web of historical, cultural, and theological allusions, Fosse constructs a modern parable of injustice, resistance, crime, and redemption. Consisting of three novellas (Wakefulness, Olav’s Dreams, and Weariness), Trilogy is a haunting, mysterious, and poignant evocation of love, for which Fosse received The Nordic Council’s Prize for Literature in 2015.
Recounting surveys the social history of Barcelona and Catalonia, primarily since the end of the Spanish Civil War in 1939. The novel follows the youth and education of Raúl Ferrer Gaminde, son of a well-connected, middle-class Catalan family that embraces Franco and Spanish Nationalism. The novel’s potent drama plays out through Goytisolo’s crisp, forceful presentation of youth, humor, optimism, rebellion, violence, sexual awakening, indulgence, punishment, and the realization of one’s artistic vocation. Alternately modern and historical, Recuento displays intelligent realism, emotional gravity, profane beauty, brute vulgarity, sweeping rhetorical scope, and seamless transitions through long, streaming passages of narrative and introspection.
A middle-aged couple takes in a prurient young woman picked up from the side of the road; a single mother struggles against the hostile feelings she harbors towards her precocious son; a man has alternative fantasies of domination and submission involving a fellow commuter; a hotel room is booked by an elderly woman in search of a place to end her life. In the fourteen stories that make up A Perfect Disharmony, Sébastien Brebel explores the experiences of isolated women and sexually obsessed men while weaving together digression, daydreams, and an accumulation of detail to create a wholly unique approach to the short story form.
The eighteenth-century German physicist Georg Christoph Lichtenberg left behind at the time of his death thousands of fragmentary notes commenting on a dazzling and at the same time puzzling array of subjects. Pierre Senges’s Fragments of Lichtenberg imaginatively and hilariously reconstructs the efforts of scholars across three centuries to piece together Lichtenberg’s disparate notes into a coherent philosophical or artistic statement. What emerges instead from their efforts are a wide variety of conflicting and competing Lichtenbergs – the poet, the physicist, the philosopher, the humorist – and a very funny meditation on the way interpretations and speculation create new histories and new realities. In just over half a century, Georg Christoph Lichtenberg (1742-1799) had the time to be all of the following: a hunchback; a mathematician; a physics professor; a connoisseur of hare pate; a hermit; an electrical theorist; a skirtchaser; a friend of King George III of England; an asthmatic; a defender of reason; a hypochondriac; a dying man; and the author of 8,000 fragments written with ink and goose quills. Traditionally those fragments have been considered no more than aphorisms, to be sipped like fine schnapps, but certain scholars claim, however, that his famous Wastebooks are really the scattered pieces of a Great Novel, and that this might yet be reconstructed, with the help of scissors, glue, and paper, and by using what is left of our imaginations. The present volume retracts, among other things, the work undertaken for more than a century by valiant Lichtenbergians.
Originally published in 1968, The Secret Crypt is something of a cult classic in Mexican literature. Elizondo’s impassioned, breathless prose launches the reader into a labyrinth that is also a hall of mirrors. Here, we find a small group of characters who are part of an underground sect called Urkreis, one of whose aims is to discover the identity of the sect’s founder, known only as “the Imagined.” The identities of narrator, author, and characters blur into one another as the narrative moves between the two worlds of the novel and the author writing the novel—an unclassifiable masterpiece containing initiation rites, sacrificial murder, conspiracy, and delirium.
13 October —01 and inching toward midnight, Lieutenant Frances Villegas sits at a Steinway trying desperately to play Stravinsky’s Petrushka while the Colonel watches, wheezing from a wing chair. They are waiting on the enigmatic voice of the people, Adjutant General Arjún J. Joglar, due to arrive at any minute from Lares. Downstairs, Baldomero Richter, presiding over a captive body stripped bare of clothes, hair, genitals, and one ear, awaits an order to terminate. It is the eve of the Evangelist Insurrection and in a few hours the great city of XXX XXXX will go up in smoke, swallowed by the warm waters of the Caribbean. All of this to declare, finally, independence. 2 March 1917, the Jones-Shafroth Act determined that Puerto Ricans would forever thereafter be mainland American citizens. One hundred years later, The Sovereign marks the centennial anniversary of the Jones Act as both paean and polemic for the history of the island nation. A hybrid chronicle stretching itself in every temporal direction, the charming magical realism of the Latin Boom (that forgot about Puerto Rico) is here warped by the uncanny spectacle of an emancipated colonial imaginary. The Sovereign is an extended meditation on what it means to be ecstatically free—and the blood price a people must pay for that freedom.
After a quarrel, an ageing lawyer leaves his wife and travels from Brasília to the dry, lawless backlands of Brazil’s northeastern plateau, where he grew up. He has vague plans to start a new life, to buy a ranch and farm cotton, but unresolved childhood obsessions, fantasies, traumas resurface, threatening to overwhelm his very sense of identity. Consumed with thoughts of revenge against the man who murdered his father when he was only two, he discovers that he may in fact have been the lovechild of his rich godfather—the man who ordered the hit—and may therefore be the half-brother of the girl for whom he harbored an adolescent sexual fixation. In this masterful novel rich in local color, João Almino creates a complex, damaged narrator inexorably dragged down into the vortex of his own treacherous memories.
Stepping Off the Edge addresses the question of literary edges and endings in contemporary works of literature from France, the United States, Canada, and Latin America. The book includes discussion of works by nine different authors, including Anne Carson, Marie NDiaye, Paul Auster, and César Aira. It considers the way that specific texts identify and interrogate textual boundaries, and also draw attention to questions of closure. Each of these texts also reflects on the way we experience and write about edges and endings in our lives.
Naoto Matsubara works in a Tokyo publishing house, though the work doesn’t particularly interest him. What does interest him, we soon discover, is the purpose of life. Naoto ponders the powers of love, attachment, and mutual care by examining closely his own friends and lovers, searching out how exactly his connection to them confers meaning on his life. Along the way, Naoto also draws on the thought of many writers and philosophers, including Tolstoy, Fromm, and Mishima.