Fiction in translation

Book SynopsisWhen the tenant of a house that university professor Nina owns with her doctor husband goes missing after an uncomfortable visit, Nina starts her own investigation … with deeply disturbing results. The long-awaited new psychological thriller from the bestselling author of The Bird Tribunal.**The Times Book of the Month** **NUMBER ONE BESTSELLER IN NORWAY** **WINNER of the Norwegian Booksellers’ Award****Longlisted for the CWA International Dagger** ‘A clever, quirky mystery, full of twists and reminiscent of Agatha Christie at her best’ The Times ‘Ravatn, one of Norway’s premier crime writers, manages to conjure up an extra level of chilling atmosphere that will make you want to put the heating on … The Seven Doors packs a brutal punch’ The Sun ‘Elegantly plotted and economically executed … Ravatn smoothly mixes Jungian and Freudian psychology with folklore and an affair’s lethal consequences. Inexorable fate drives this searing modern take on ancient Greek tragedy’ Publishers Weekly STARRED REVIEW _________________ University professor Nina is at a turning point. Her work seems increasingly irrelevant, her doctor husband is never home, relations with her difficult daughter are strained, and their beautiful house is scheduled for demolition. When her daughter decides to move into another house they own, things take a very dark turn. The young woman living there disappears, leaving her son behind, the day after Nina and her daughter pay her a visit. With few clues, the police enquiry soon grinds to a halt, but Nina has an inexplicable sense of guilt. Unable to rest, she begins her own investigation, but as she pulls on the threads of the case, it seems her discoveries may have very grave consequences for her and her family. Exquisitely dark and immensely powerful, The Seven Doors is a sophisticated and deeply disturbing psychological thriller from one of Norway’s most distinguished voices. _________________ ‘Wrenching and tense, a psychological chiller with multiple layers unpeeling graciously to reveal further strata of emotional bleakness and enigmas’ Maxim Jakubowski, CrimeTime Praise for Agnes Ravatn ‘Unfolds in an austere style that perfectly captures the bleakly beautiful landscape of Norway’s far north’ Irish Times ‘Reminiscent of Patricia Highsmith – and I can’t offer higher praise than that – Agnes Ravatn is an author to watch’ Philip Ardagh ‘A tense and riveting read’ Financial Times ‘A masterclass in suspense and delayed terror’ Rod Reynolds, author of Blood Red City ‘A beautifully written story set in a captivating landscape … it keeps you turning the pages’ Sarah Ward, author of The Quickening ‘Crackling, fraught and hugely compulsive slice of Nordic Noir … tremendously impressive’ Doug Johnstone, Big Issue Chilling, atmospheric and hauntingly beautiful … I was transfixed’ Amanda Jennings, author of The Storm ‘Beautifully done … dark, psychologically tense and packed full of emotion both overt or deliberately disguised’ Raven Crime Reads ‘Intriguing … enrapturing’ Sarah Hilary, author of Fragile ‘So chilling and bleak that it feels like the dead of winter. I read the book in one sitting with ever-growing dread’ Stephanie Wrobel, author of The Recovery of Rose GoldTrade Review"This really reminds me of Patricia Highsmith's work, and I can't offer much higher praise than that." --Philip Ardagh, author, Dreadful Acts "This is Ravatn's first book in this genre, and as a psychological thriller it certainly does the job. In all, a tense and riveting read!" --Barry Forshaw, author, The Man Who Left Too Soon "Intriguing . . . enrapturing." --Sarah Hilary, author, Someone Else's Skin "An unrelenting atmosphere of doom fails to prepare readers for the surprising resolution that engulfs this flawed pair." --Publishers Weekly "The Bird Tribunal is a chilly psychological thriller / domestic noir that unfolds in an austere style that perfectly captures the bleakly beautiful landscape of Norway's far north." --Irish Times

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Book SynopsisA young couple are entangled in a nightmare spiral of lies when they pretend to be someone else …Exquisitely dark psychological suspense by the international bestselling author of The Bird Tribunal ‘A delightfully insightful and wicked little read … Like the cabin, it's so minimalist and stark and at the same time so compelling’ Elizabeth Haynes ________It started with a lie… Married couple Karin and Kai are looking for a pleasant escape from their busy lives, and reluctantly accept an offer to stay in a luxurious holiday home in the Norwegian fjords. Instead of finding a relaxing retreat, however, their trip becomes a reminder of everything lacking in their own lives, and in a less-than-friendly meeting with their new neighbours, Karin tells a little white lie… Against the backdrop of the glistening water and within the claustrophobic walls of the ultra-modern house, Karin’s insecurities blossom, and her lie grows ever bigger, entangling her and her husband in a nightmare spiral of deceits with absolutely no means of escape… Simmering with suspense and dark humour, The Guests is a gripping psychological drama about envy and aspiration … and something more menacing, hiding just below that glittering surface… _____ Praise for Agnes Ravatn **Shortlisted for the Dublin Literary Award****A BBC Book at Bedtime****Shortlisted for the Petrona Award for Best Scandinavian Crime Fiction****Winner of an English PEN Translation Award** 'A clever, quirky mystery, full of twists and reminiscent of Agatha Christie at her best' The Times 'Ravatn, one of Norway's premier crime writers, manages to conjure up an extra level of chilling atmosphere that will make you want to put the heating on' The Sun 'An unrelenting atmosphere of doom fails to prepare readers for the surprising resolution' Publishers Weekly 'Unfolds in an austere style that perfectly captures the bleakly beautiful landscape of Norway's far north' Irish Times 'Reminiscent of Patricia Highsmith and I can't offer higher praise than that. Agnes Ravatn is an author to watch' Philip Ardagh 'A tense and riveting read' Financial Times 'Crackling, fraught and hugely compulsive slice of Nordic Noir tremendously impressive' Big Issue 'Intriguing … enrapturing' Sarah Hilary ‘A masterclass in suspense and delayed terror' Rod Reynolds

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Book SynopsisAnne’s diagnosis of terminal cancer shines a spotlight onto fractured relationships with her daughter and granddaughter, with surprising, heartwarming results. A moving, elegant and warmly funny novel by the Norwegian Anne Tyler. ‘Helga Flatland writes with such astuteness … Her portrayal of a fractured family trying to cope through emotional personal circumstances was perfect. I devoured this in two sittings and was overwhelmed with feelings for the characters’ Nina Pottell, Prima ‘Sometimes you simply don’t have words to express the beauty and experience of a book – this is one of them’ Louise Beech _______________ Anne’s life is rushing to an unexpected and untimely end. But her diagnosis of terminal cancer isn’t just a shock for her – and for her daughter Sigrid and granddaughter Mia – it shines a spotlight onto their fractured and uncomfortable relationships. On a spur-of-the moment trip to France the three generations of women reveal harboured secrets, long-held frustrations and suppressed desires, and learn humbling and heart-warming lessons about how life should be lived when death is so close. With all of Helga Flatland’s trademark humour, razor-sharp wit and deep empathy, One Last Time examines the great dramas that can be found in ordinary lives, asks the questions that matter to us all – and ultimately celebrates the resilience of the human spirit, in an exquisite, enchantingly beautiful novel that urges us to treasure and rethink … everything. For fans of Elena Ferrante, Maggie O’Farrell, Mike Gayle, Joanna Cannon, Sally Rooney and Carol Shields. _______________ ‘The most beautiful, elegant writing I’ve read in a long time. If you love Anne Tyler, you will ADORE this’ Joanna Cannon ‘Flatland is hailed as “the Norwegian Anne Tyler”, but, for me, she writes like Flatland, which is more than good enough’ Saga ‘A poignant and beautifully written story ... intimate, evocative and moving’ Kristin Gleeson ‘Helga Flatland possesses a pen made from fluent wisdom, subtle humour and elegance’ Carol Lovekin ‘Absolutely loved its quiet, insightful generosity’ Claire King 'So perceptive and clever' Rónán Hession ‘A thoughtful and reflective novel about parents, siblings and the complex – and often challenging – ties that bind them’ Hannah Beckerman, Observer ‘This is a super exploration of families that I’d urge you to read for the subtle prose, with well defined characters and a strong storyline’ Sheila O’Reilly ‘Love the sophistication, directness and tenderness of this book’ Claire Dyer ‘The most clear-eyed, honest, yet sympathetic examination of relationships that I have ever read’ Sara Taylor ‘The author has been dubbed the Norwegian Anne Tyler and for good reason … If you love books about dysfunctional families, you’ll love this’ Good Housekeeping ‘In quiet prose, Helga Flatland writes with elegance and subtle humour to produce a shrewd and insightful examination of the psychology of family and of loss’ Daily Express

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Book SynopsisAn insurance mathematician’s carefully ordered life is turned on its head when he unexpectedly loses his job and inherits an adventure park … with a whole host of problems. A quirky, tense and warmly funny thriller from award-winning Finnish author Antti Tuomainen. **Soon to be a major motion picture starring Steve Carell for Amazon Studios** 'Laconic, thrilling and warmly human. In these uncertain times, what better hero than an actuary?' Chris Brookmyre ‘The antic novels of Antti Tuomainen prove that comedy is not lost in translation … Tuomainen, like Carl Hiaasen before him, has the knack of combining slapstick with genuine emotion’ The Times 'The funniest writer in Europe, and one of the very finest. There is a beautiful rhythm and poetry to the prose … original and brilliant story-telling' Helen FitzGerald_______________ Just one spreadsheet away from chaos… What makes life perfect? Insurance mathematician Henri Koskinen knows the answer because he calculates everything down to the very last decimal. And then, for the first time, Henri is faced with the incalculable. After suddenly losing his job, Henri inherits an adventure park from his brother – its peculiar employees and troubling financial problems included. The worst of the financial issues appear to originate from big loans taken from criminal quarters … and some dangerous men are very keen to get their money back. But what Henri really can’t compute is love. In the adventure park, Henri crosses paths with Laura, an artist with a chequered past, and a joie de vivre and erratic lifestyle that bewilders him. As the criminals go to extreme lengths to collect their debts and as Henri's relationship with Laura deepens, he finds himself faced with situations and emotions that simply cannot be pinned down on his spreadsheets… Warmly funny, rich with quirky characters and absurd situations, The Rabbit Factor is a triumph of a dark thriller, its tension matched only by its ability to make us rejoice in the beauty and random nature of life. _______________ ‘British readers might think they know what to expect from Nordic noir: a tortured detective, a bleak setting, a brutal crime that shakes a small community. Finnish crime novelist Tuomainen turns all of this on its head … The ear of a giant plastic rabbit becomes a key weapon. It only gets darker and funnier’ Guardian 'Antti Tuomainen turns the clichéd idea of dour, humourless Scandi noir upside down with The Rabbit Factor. Dark, gripping and hilarious … Tuomainen is the Carl Hiaasen of the fjords' Martyn Waites 'The Rabbit Factor is a triumph, a joyous, feel-good antidote to troubled times' Kevin Wignall ‘Finland's greatest export’ M.J. Arlidge ‘The Rabbit Factor is an astounding read. It has the suspenseful twists of a thriller, the laugh-out-loud moments of a comedy and a tragic dimension that brings a tear to the eye’ Crime Fiction Lover 'You don’t expect to laugh when you’re reading about terrible crimes, but that’s what you’ll do when you pick up one of Tuomainen’s decidedly quirky thrillers' New York Times ‘Tuomainen is the funniest writer in Europe’ The Times ‘Right up there with the best’ Times Literary Supplement ‘Tuomainen continues to carve out his own niche in the chilly tundras of northern’ Daily Express

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Book SynopsisEstonians believe their greatest writer to be the prolific novelist and translator A.H. Tammsaare whose most famous work is his famous pentalogy, Truth and Justice, which traces Estonia's dramatic history from the 1860s to the 1930s. Vagabond Voices is publishing the third volume of the pentalogy, After the Storm Fell Silent, following on from Volume I, Vargamäe in which deals with the peasantry and at the end introduces the protagonist Indrek, and Volume II whose title is simply Indrek and recounts his education in the city. Both those volumes have already been published by Vagabond Voices, and has sold well in spite of their considerable bulk. In Volume III Indrek finds himself unemployed and alone in a hostile world that is beginning to fall apart. The 1905 Revolution, which would be overshadowed later by the one in 1917, is just starting and the pentalogy is shifting from the personal and the familial to the public and societal. Ideas are driving events, and the consequences are tragic. Tammsaare entirely ignores 1917 in this pentalogy possibly because Volume III has already dealt with this subject. This volume is very much shorter than the others, and only about 70,000 words, but it is the dense and significant core of the pentalogy. It can stand on its own, but is also an integral part of the whole.

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Book SynopsisYou only have yourself to blame, you might say, but that’s not true. Some decisions take you down one path, and others another … It’s all about power. Resi is a writer in her mid-forties, married to Sven, a painter. They live, with their four children, in an apartment building in Berlin, where their lease is controlled by some of their closest friends. Those same friends live communally nearby, in a house they co-own and have built together. As the years have passed, Resi has watched her once-dear friends become more and more ensconced in the comforts and compromises of money, success, and the nuclear family. After Resi’s latest book openly criticises stereotypical family life and values, she receives a letter of eviction. Incensed by the true natures and hard realities she now sees so clearly, Resi sets out to describe the world as it really is for her fourteen-year-old daughter, Bea. Written with dark humour and clarifying rage, Anke Stelling’s novel is a ferocious and funny account of motherhood, parenthood, family, and friendship thrust into battle. Lively, rude, and wise, it throws down the gauntlet to those who fail to interrogate who they have become.Trade Review‘Stelling is brilliant on the quantum universe of parenting, the sheer unpredictability of it … The novel moves effortlessly between time periods in recent German history and builds up the composite picture of a generation that has too often seen many of its ideals disappear into trust funds … compelling.’ -- Michael Cronin * The Irish Times *‘A bitterly funny and honest examination of what it means to look at oneself in the mirror and what happens to relationships in the midst of a transforming society.’ * Happy Magazine *‘German author Anke Stelling makes her English language debut with a swingeing screed against the privilege and hypocrisy of those who sell their souls to get ahead … A merciless tirade of a novel about class, so energised by rage and wit it’s impossible to tear your eyes from the page.’ -- Cameron Woodhead * The Age *‘Stelling makes a blistering English-language debut with this incendiary screed about hypocrisy and privilege among a group of friends in Berlin... This biting class critique is hard to turn away from.’ * Publishers Weekly *‘It’s a fantastic translation, capturing Stelling’s candid, often ironic tone, as well as the narrator’s propensity for rhyme and wordplay. The book is very much embedded in the social landscape it’s set in, and so Jones’ decision to keep a flavour of the original German works particularly well.’ -- Annie Rutherford * Goethe Institute *‘Stelling is down-to-earth and quick with her criticism of the liberal elite … There is a deep satisfaction in watching [main character] Resi defy expectation and norm, frustrating those who wish she would just be thankful.’ -- Connor Harrison * Necessary Fiction *‘[A]n apologia pro vita mea… this sad, angry, and occasionally funny book works as a portrait of modern Germany and its social mores.’ -- Bethane Patrick * LitHub *‘This is an extremely funny book. All credit to translator Lucy Jones here, for the humour is largely in the writing, with rhythms, bathos and the subversion of expectations all delivering laughs. Stelling is an expert on the ways human beings deceive themselves and how we often betray these lies unconsciously … Higher Ground is a deftly structured, ingenious piece of fiction … The result is a hugely entertaining, satisfying and thought-provoking novel. A really wonderful read.’ -- Ann Morgan * A Year of Reading the World *‘Higher Ground is an absorbing novel that kept me interested from start to finish. Laced with dark humour, it’s very contemporary, skewering complacency and hypocrisy among the moneyed classes in Berlin … It’s often laugh-out-loud funny, and it’s often wise as well, even when she’s sending herself up.’ -- Lisa Hill * ANZ LitLovers *

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Book SynopsisLONGLISTED FOR THE DESMOND ELLIOTT PRIZE People say ‘I’m sorry’ all the time when it can mean both ‘I’m sorry I hurt you’ and ‘I’m sorry someone else did something I have nothing to do with’. It’s like the English language gave up on trying to find a word for sympathy which wasn’t also the word for guilt. Swedish immigrant Kristin won’t talk about the Project growing inside her. Her Brazilian-born Scottish boyfriend Ciaran won’t speak English at all; he is trying to immerse himself in a Swedish språkbad language bath, to prepare for their future, whatever the fick that means. Their Edinburgh flat is starting to feel very small. As this young couple is forced to confront the thing that they are both avoiding, they must reckon with the bigger questions of the world outside, and their places in it.Trade Review‘A novel brimming with ideas and promise.’ -- Lucy Knight * The Sunday Times *‘One of the gentlest and most patient, humane, and quirky things I have read in a long time ... Hugely original.’ -- Niamh Campbell, author of This Happy‘Unique and playful.’ * Foyles *‘How We Are Translated is the most contemporary of novels; set somehow both in the now and in the distant past; in one city that could be many cities, and in two different languages, though also in defiance of language, with as much focus on the silences between words as the words themselves. It’s a novel that maintains just the right balance of oddity, intimacy and illumination. It’s a novel that anyone interested in the future of the English novel needs to read!’ -- Sara Baume, author of Spill Simmer Falter Wither‘With echoes of Ali Smith and George Saunders, How We Are Translated explores themes of identity and intimacy with admirable sensitivity and wit.’ -- Julianne Pachico, author of The Anthill‘How We Are Translated is a layered work about home, language, barriers, and belonging. Johannesson’s unusual and refreshing prose crackles with truth — burning along beautifully.’ -- Alice Bishop, author of A Constant Hum‘Our bodies and languages are made new to us again through Jessica Gaitán Johannesson’s wild and playful novel. Laying bare the absurdity of the idea of a common tongue, she takes us on an adventure through private and public languages — those which ebb and flow between lovers or arise out of necessity in a workplace obsessed with authenticity. How We Are Translated gets at the heart of how language holds us, tears at us, and can bring us close in spite of, or because of, its inevitable imperfections.’ -- Saskia Vogel, author of Permission‘I really really loved How We Are Translated ... so brilliant on language, communication, distance, the ways we speak past/around/beyond each other.’ -- Nell Stevens‘Jessica Gaitán Johannesson has a very fresh voice that packs everything with so much new meaning that you won’t think about language or communication the same way again … I’ve never read anything quite like How We Are Translated before, but I very much hope that Gaitán Johannesson will follow her debut with more of the same.’ * Shiny New Books *‘An incredibly creative, entertaining and thought-provoking novel … fizzing with ideas, wry humour and linguistic contradictions.’ -- Nic Bottomley * Bath Life *‘A novel that you might end up reading in one sitting … this is writing with breathing space, with room for the ever-shifting spectrum of life.’ -- Saskia Hayward and Matthew Leigh * Bath Magazine *‘Eccentric, but likeable ... In Gaitán Johannesson’s novel, Swedish words and phrases appear in one column with their English translation in another ... The innovation is effective. The way a foreign word looks, together with its literal translation, seems to tell us something specific, not only about another culture but about humanity generally.’ -- Miranda France * TLS *‘This is an excellent book for those who love Edinburgh, the oddities of language, and other people’s drama. One of the best books that I have read recently. It is full of moments which would be pivotal in anyone’s life and they are described with the kind of dry self-deprecation I can't help but adore.’ -- Cecilie * The Portobello Bookshop *‘Johannesson's tender and madcap debut explores themes of family, history, and language [with] a spiritedness reminiscent of the work of Elizabeth McKenzie … a delightful romp.’ * Publishers Weekly *‘Concepts of ethnicity, intimacy, and identity are woven into Jessica Gaitán Johannesson’s quirky, contemplative novel … Poignant, perceptive, and clever, How We Are Translated is a novel about the human beings who exist beyond ideals of diversity, and about the emotional implications of language.’ * Foreword, starred review *‘Well-written.’ -- Alastair Mabbott * The Herald *‘How We Are Translated is a gentle and meditative look at relationships—romantic, cultural, familial. Gaitán Johannesson creates a soft world populated by simultaneously mundane and quirky characters. This is a tender story handled with soft, deft hands.’ -- Laura Graveline * Brazos Bookstore *‘Fans of Anne Carson and Maggie Nelson will like How We Are Translated. This is a beautiful book, both inside and out … a meditation on self: how a self is both lost and found in language and translation, and how a self is both lost and found in the body and all the body, especially the female body, can and can’t do.’ -- Samantha * Bear Pond Books *

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Book SynopsisWhen her parents die in a car accident, highly talented Austrian physicist Ruth Schwarz is confronted with a problem. Her parents’ will calls for them to be buried in their childhood home — but for strangers, the village of Gross-Einland remains stubbornly hidden from view. When Ruth finally finds her way there, she makes a disturbing discovery: beneath the town lies a vast cavern that exerts a strange control over the lives of the villagers. There are hidden clues about the hole everywhere, but nobody wants to talk about it — not even when it becomes clear that the stability of the entire town is in jeopardy. In the literary tradition of Thomas Bernhard and Elfriede Jelinek, Raphaela Edelbauer’s tale of trauma and history weaves an opaque dream fabric that is frighteningly true to life, and in the process she turns us towards the abject horror that lies beneath repressed memory. The Liquid Land is a dangerous novel, at once glittering nightmare and dark reality, from an extraordinary new voice.Trade Review‘A Freudian exploration of complicated grief.’ -- Simon Ings * The Times *‘Ably translated from the German by Jen Calleja, Raphaela Edelbauer’s impressive debut novel is a subtle allegory of historical memory and collective guilt, combining a dreamy, gothic strangeness with whimsical humour and an element of farce … The novel’s deft blend of registers — at once uncannily foreboding and drily comic — makes for an absorbing and memorable tale.’ -- Houman Barekat * The Guardian *‘Clever and compelling.’ -- Dani Garavelli * The Big Issue *‘Highly intelligent and deeply eccentric … the writing has atmosphere and intensity and — most satisfyingly — an intoxicating strangeness.’ -- Kevin O’Sullivan * Irish Examiner *‘An unfathomable and imaginative parable about Austria and how it dealt with its National Socialist past … philosophical and fantastic.’ -- Florian Baranyi * ORF *‘Edelbauer crosses borders and advances into unexplored areas of literature.’ * 2017 Rauriser Literature Prize jury citation *‘A village that officially does not exist and that seems to be disappearing more and more … Anyone who embarks on this trip is safely guided by Edelbauer — on a fine line between madness and adventure.’ -- Christina Risken * Buchhandlung Krüger *Praise for Raphaela Edelbauer: ‘Edelbauer’s essays are huge and impossible, utopian and full of fantastical realisms, brilliant and unwieldy. Vulcanoid salvos, cold and hard, which hit the reader with brute force.’ * Marietta Böning, Magazine of the Literaturhaus Wien *‘The Liquid Land was a fun and fascinating read … This is a quirky tale that is sure to please readers of contemporary fiction looking for something a little different, since it combines family drama with mystery/investigation and a touch of magical realism.’ -- Nicki J. Markus/Asta Idonea, author of Fire Up My Heart and Northern Lights‘For a novel meticulously built on a series of familiar, strange, and compelling conceptual metaphors, The Liquid Land isn't a dense or overly taxing read — just the opposite, in fact. Ruth's brief meditations on the nature of time and space at the beginning of the novel become our entry-point into the first of many motifs Edelbauer spends the rest of the book unpicking: the fluidity of time and space in our social lives, the implications of ecological collapse, the permeability of natural and built worlds, and our attempt to make sense of the past, and more importantly, come to terms with it. With The Liquid Land, Raphaela Edelbauer has written a book that is oblique, familiar, and completely new. It's a fascinating, heady combination.’ -- Khalid Warsame * ABC Arts *‘Edelbauer conjures a gut-level queasiness around questions of participation in and propagation of historical lies in a country with a silenced history of violence. This novel becomes a study of the deformations that such silences work upon citizens and indeed on physical landscapes. It’s a visceral wrestle with the presence of the past.’ -- Bernard Caleo, Readings‘The Liquid Land is a tale that nods to the traditions of magical realism while also exploring the threat of a very real past. On one level, it deals with a practical problem that falls to the protagonist, Ruth. But in searching for the solution — a town that has written itself off the map — she uncovers a looming danger that threatens to engulf the place. An intoxicating adventure unfolds from this unique premise.’ * Happy Mag *‘Fascinating and richly imaginative.’ -- Eric Karl Anderson * Lonesome Reader *‘A dark and deliciously unique novel … An uncanny page-turner, The Liquid Land pits family drama and an eerie almost Hot Fuzz-like town against darker presences – whether physical, emotional, or historical. The end result is an engaging and thought-provoking piece of contemporary fiction.’ -- Jodie Sloan * The AU Review‘The Liquid Land is a daring and surreal nightmare that lingers long after you turn the final page … The Liquid Land is a powerful sociological and philosophical reflection on society and government.’ -- Samuel Bernard Williams * Good Reading, starred review *‘From the first page of this beguilingly strange, darkly comic novel, we are plunged into a destabilised realm of fiction where the laws of rationality, physics, and linear duration no longer seem to apply … At times, the novel, as translated into English by Jen Calleja, reads like a postmodern détournement of classic German texts like The Castle and The Magic Mountain, where a baffled protagonist is drawn into an environment whose shadowy, labile qualities become inseparable from their own inner disorder.’ * World Literature Today *‘Ruth Schwartz, a physicist, tries to fulfil her parents' final wishes: burying them in their ancestral home of Greater Einland, a small town in Austria that does not show up in any municipal record … This is an eerie, electric novel about individual trauma, collective memory, and the way the land holds onto atrocity.’ -- Rachel Schneck * Harvard Book Store *

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Book SynopsisA bewitching novel set in contemporary Japan about the mysterious suicide of a young woman. Miwako Sumida is dead. Now those closest to her try to piece together the fragments of her life. Ryusei, who always loved Miwako, follows her trail to a remote Japanese village. Chie, her best friend, was the only person to know her true identity — but is now the time to reveal it? Meanwhile, Fumi, Ryusei’s sister, has her own haunting secret. Together, they realise that the young woman they thought they knew had more going on than they could ever have dreamed.Trade Review‘The gap between the private pain we suffer and the public image we project is explored with sensitivity and tenderness.’ -- Claire Allfree * Daily Mail *‘Vivid and intriguing — an elegantly cryptic, poetically plotted Murakami-esque whydunit.’ -- Sharlene Teo, award–winning author of Ponti‘An offbeat, tender exploration of the secrets we keep from others … Goenawan is clearly a talented and creative storyteller … She excels at suspense, keeping the reader guessing with left-field plot developments and forays into magic realism that somehow seem in keeping with realities on the ground.’ -- Sarah Gilmartin * The Irish Times *‘Clarissa Goenawan’s style is effortless and emotionally charged, and it’s particularly heartening to see a trans character depicted in a lead role, written in a real and sympathetic way.’ -- Prudence Wade * Press Association *‘A novel in three voices about the inner turmoil — and beauty — that people keep walled behind flawless surfaces.’ -- Tiffany Tsao, author of The Oddfits and The Majesties‘Dazzling.’ * Foyles Bookstore *‘She has created a Murakami-inspired novel that does away with all of his problems and tells a story far more rounded, pleasing, and sophisticated.’ -- Will Heath * Books & Bao *‘From the first page of Clarissa Goenawan’s The Perfect World of Miwako Sumida, we know that the titular Miwako has taken her own life, but we don’t know why. This same question plagues Miwako’s close friends as they grieve her death and search for answers. In this elegant and haunting novel, Goenawan deftly explores the messiness of grief, the pain of lost chances, and the way a life can collapse under the weight of secrets. Miwako and her friends are under my skin, and I’ll be thinking about them for some time.’ -- Kathleen Barber, author of Truth Be Told and Follow Me‘An exquisite tale about the way secrets shape and transform young lives. Behind Goenawan’s crisp, spare prose lies a world of emotional complexity.’ -- Mira T. Lee, award–winning author of Everything Here Is Beautiful‘Written in clear, simple prose, Goenawan’s novel presents the intriguing mystery of Miwako Sumida through the eyes of three characters who try to piece together her puzzle while struggling with their own questions of meaning and identity. This story about youth, friendship, grief, and trauma invites us through secret doors, ready to discover more.’ -- Intan Paramaditha, PEN Award–winning author of Apple and Knife and The Wandering‘Miwako is a powerful, memorable character … The way these characters’ lives intersect makes for a complex and satisfying tale, one that’s sad at the same time as it’s lively and warm.’ -- Rebecca Hussey * Book Riot *‘As three stories interlink, rich plot, description, and dialogue make this fiction seem like reality. While readers may be aware they’re not a part of the novel, through Goenawan’s enthralling writing, they will nonetheless become immersed in her fictional world.’ -- Budi Darma‘Tender and tragic … Goenawan’s luminous prose captures the deep emotions of her characters as they grapple with questions about family history, gender, and sexuality. The tug of Miwako’s strange, troubled spirit will wrench readers from the beginning.’ -- Publishers Weekly‘Goenawan, like any skilled novelist, manages to elegantly reveal both the pain and beauty of unraveling a life after loss. This is only her second novel to date, and she’s already been compared to the wizard of world-building, Haruki Murakami.’ * Lambda Literary *‘[Goenawan] raises an age-old question on the fine line where literature ends and life begins ... [she] has her own distinctive voice, as she sensitively explores traumatic sexual experiences through a woman’s perspective.’ * The Jakarta Post *‘A compelling protagonist ... Like Japanese brush painting, the author’s simple, clear prose captures Miwako’s vulnerability and complexity. Also vividly drawn are Fumi and Chie, each having built their own unusual protective personas that are gradually revealed. An eerie and elegant puzzle.’ * Kirkus Reviews *‘Like Goenawan’s previous Rainbirds, this is more literary fiction than conventional mystery, featuring exceptionally well-drawn characters facing adversity in a narrative written with an elegance and delicacy.’ -- Michele Leber * Booklist *‘Goenawan does an expert job of getting to the core of this university student with a mysterious past, and on how people grapple with the death by suicide of a loved one.’ * Alma *‘This haunting tale of grief and tragedy by the author of Rainbirds might appeal to new adults who remember John Green’s Looking for Alaska. The leisurely narrative uncovers a world of Japanese customs, ghosts, and grief.’ -- Lesa Holstine * Library Journal *‘[A] a complex, interpersonal mystery … [A] tremendous examination of sadness … [A] book with heart about the mysteries of the heart.’ -- Benjamin Welton * New York Journal of Books *‘Goenawan’s prose is transportive in its directness and evocative in its simplicity. In Miwako, she has succeeded in an intricate character study of a perturbed soul … An immersive, haunting tale.’ -- Walter Sim * The Strait Times *‘If her debut novel brings Murakami to mind, her second, with its winsome tone, harkens to early Banana Yoshimoto. However, with her blend of mystery, magic and social issues — in this case, sexual abuse, transgender awareness and suicide — Goenawan is developing her own distinct brand.’ -- Suzanne Kamata * The Japan Times *‘A quietly powerful meditation on the destructive power of secrets, as well as the power of truth to heal even beyond death.’ -- Christina Ladd * The Nerd Daily *‘[A] subtly fantastical story, driven by themes of love, loss, and grief. It toes the line between YA and literary fiction, and it does so effortlessly … [A] three-dimensional story that moves seamlessly from the distant past to the recent past to the present, painting a colourful image of Miwako Sumida that grows in detail as the story gains momentum. Despite not having been written by a Japanese novelist, The Perfect World of Miwako Sumida strongly and elegantly echoes the style and tone of manga like Erased and Orange, and most vividly the novels of Haruki Murakami … There are mysteries that tease at you and lies you’ll be told, all in service of a complex, intense story that ebbs and flows so beautifully. It’s a wild ride, and a delightfully satisfying one.’ * Books & Bao *‘This novel is both familiar and unusual. It is written in English by an Indonesian-born Singaporean author, but summons the atmospheres of Japanese fictions (both written and cinematic) … Clarissa Goenawan is an emerging talent … Compassionate and compelling.’ -- Alison Huber * Readings *‘Powerful and compelling.’ * Reading, Writing and Riesling *‘Very absorbing and incredibly well written … Highly recommended and I’ll be looking out for more from this author.’ * Theresa Smith Writes *‘A novel that examines a tragedy from three sides … Ultimately very readable and enjoyable.’ -- Emily Paull * The AU Review *‘What a beautiful, heartbreaking book … the language is reminiscent of Japanese books The Travelling Cat Chronicles (Hiro Arikawa) and If Cats Disappeared from the World (Genki Kawamura). In these stories, as in Goenawan’s, beautiful language and scenes are used as backdrops for a gentle uncovering of what it really means to be human.’ -- Kaylia Payne * Lip Magazine *‘This is a bittersweet tale of abuse and identity, of the potentially destructive nature of secrets and of the value of having people around who can understand and help process painful or traumatic events.’ * Pile by the Bed *‘This is a deep-cut examination of what happens to a life left behind.’ * Keeping Up with the Penguins *‘This is Murakami without the male gaze – a feminist Murakami, perhaps … An engrossing tale clearly influenced by Japanese women writers such as Risa Wataya and Banana Yoshimoto, The Perfect World of Miwako Sumida is about the crushing weight of secrets and how the long arm of history returns to haunt a person. In this novel, young women straitjacketed by the standards of mainstream society demand: give us a closer look.’ -- Cher Tan * The Saturday Paper *‘Quietly quirky in the manner of Haruki Murakami, including shades of magic realism, The Perfect World of Miwako Sumida focuses on the subtle intricacies of social interactions and sexuality, particularly in Japanese culture at the time … This is a lingering fable about learning to accept yourself, even in the wake of grief.’ -- Doug Wallen * Big Issue *‘The Perfect World of Miwako Sumida is a vibrant and at time surreal exploration of lost love, death, trauma, and friendship in Japan in the 1980s/90s … This novel is beautifully created and provides a mature look into suicide and its impacts on those left behind.’ FOUR STARS -- Akina Hansen * Good Reading *‘Captivating and sometimes heartbreaking … The Perfect World of Miwako Sumida is hard to put down and despite its tragedy is a thoroughly enjoyable read.’ -- Vittoria Bon * Gold Coast Bulletin *‘A novel that lingers in the mind thanks to its poetic delivery, layering of ideas and an engrossing tale, all led by vivid characters.’ * Bad Form Magazine *Praise for Rainbirds: ‘​A murder mystery and a family drama in one, this book is as beautiful as it is understated. The author presents us with a fascinatingly structured look into Japanese society and a depiction of mourning and grief that is universally recognisable.’ * San Francisco Chronicle *Praise for Rainbirds: ‘A​ transnational literary tour-de-force. Readers will be carried along by its creepy charm.​’ * The Japan Times​ *Praise for Rainbirds: ‘Clarissa Goenawan spins a dark, encapsulating story that will certainly reel you in completely.’ * Bustle *Praise for Rainbirds: ‘Mysterious and dark.’ * Daily Beast *

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Book SynopsisCould you marry a man you’ve never met? Three Korean women in 1918 make a life-changing journey to Hawaii, where they will marry, having seen only photographs of their intended husbands. Different fates await each of these women. Hong-ju, who dreams of a marriage of ‘natural love’, meets a man who looks twenty years older than his photograph; Song-hwa, who wants to escape from her life of ridicule as the granddaughter of a shaman, meets a lazy drunkard. And then there’s Willow, whose 26-year-old groom, Taewan, looks just like his image … Real life doesn’t always resemble a picture, but there’s no going back. And while things don’t turn out quite as they’d hoped, even for Willow, they do find something that makes their journey worthwhile — each other.Trade Review‘Lee Geum-yi has a gift for taking little-known embers of history and transforming them into moving, compelling, and uplifting stories. I loved Willow from the first page to the last. Loved her courage, and her tenacious, yet caring, beautiful soul. The Picture Bride is the ultimate story of the power of friendship — a must read!’ -- Heather Morris, #1 New York Times bestselling author of The Tattooist of Auschwitz and Three Sisters‘It’s a compelling story and Lee Geum-yi movingly describes the women’s journeys.’ -- Eithne Farry * Daily Mail *‘A transporting and immersive story that will enthral historical fiction readers. Poignant and moving, its unforgettable characters will stay with you long after you’ve finished reading.’ -- Chanel Cleeton, New York Times bestselling author of The Most Beautiful Girl in Cuba‘A fascinating journey into the world of Korean “picture brides” whose lives take unexpected turns as they land on distant shores. A beautiful testimony to those women bold and determined enough to leave behind all that was familiar, seeking a better life.’ -- Lisa Wingate, #1 New York Times bestselling author of Before We Were Yours and The Book of Lost Friends‘The stories of these women's lives in Hawai’i and the sugar industry there becomes, in Lee’s skilled hands, a vehicle for a narrative about the Korean struggle for independence from Japan and how it was refracted through the diaspora.’ * Asian Review of Books *‘This novel honours those powerful Korean women, who took a chance on a new life in a distant land … Told in gentle, empathetic prose that sheds new light into a neglected corner of American history, The Picture Bride is an immigrant story, but it is moreover a love story.’ * Asymptote Journal *‘Heartfelt, beautiful, and immersive, The Picture Bride is a fascinating historical fiction book.’ * The Register-Herald *‘An engaging picture of a time and a place.’ * Publishers Weekly *‘Written with great historical detail about Korean immigrants in Hawai‘i, Geum-yi’s beautiful novel weaves an extraordinary tale.’ * Booklist *‘This work of historical fiction is Korean novelist Lee’s first book to be translated into English … Historical fiction buffs and readers interested in little-known history will enjoy.’ * Library Journal *‘This moving novel takes readers into the world of Korean “picture brides” … [A] total must-read.’ * Katie Couric Media *‘The Picture Bride is an accessible and moving read, no matter your prior knowledge of Korean culture or history in the early 20th century. … Though their tale is marred by hardship, [it] is ultimately an inspirational story that celebrates the enduring bonds of female friendship.’ * Better Reading *‘An impeccably written piece of historical fiction, The Picture Bride presents an exquisite portrait of womanhood and the bonds of friendship and family.’ -- Alastair Mabbott * The Herald *‘The Picture Bride shines … illuminating crucial but obscure events along Korea’s turbulent path to nationhood.’ -- Cameron Woodhead * The Sydney Morning Herald *

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Book SynopsisOriginally published in 1929 in Germany, it was one of the many books banned by the Nazis, and all copies which could be found at the time were burnt in bonfires by the Gestapo. It has been out of print since its original publication, with few copies having escaped destruction.

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Book Synopsis"I had just gotten away from it all, by which I mean all those ordinary, boring things like skyscrapers, cigar-smoking industrialists, linoleum, plastics, television, westerns and marihuana. I had either seen or heard about them. Whether they are good or bad is beside the point..." A nameless graphic designer is haunted by the concentration camp in which he was once interned. Obsessed with his past, as well as Italy's present 'economic miracle' he retreats to a rural villa where he decorates the rooms with "arrows, signs, advertisements"; invents a new, purposefully incomprehensible typeface; and attempts to devise a marketing campaign for stones. Upon finally returning to Milan life becomes even more unbalanced. He loses his job and acquires a mistress whom he soon confuses both with his wife and the memory of the young, Czech woman he abandoned at the end of the war... Known primarily as a screenwriter for Michelangelo Antonioni, Federico Fellini and Andrei Tarkovsky among many others, Tonino Guerra also wrote poetry and fiction. Reissued to mark the centenary of Guerra's birth, and with a new introduction by acclaimed cultural critic Michael Bracewell, Equilibrium remains a relevant, powerful, and intensely visual account of a truly (post-)modern man.Trade Review"A diary, a tragedy, PTSD, madness. A trip worthy of Hunter S. Thompson or Charlie Kaufman, obviously filmic and surreal but succinct and clear like fresh water." Samantha Morton ---------- "Equilibrium, about malaise, sexuality without love, bewilderment, scorn, constantly thwarted relationships and a man trapped in his own head, speaks in a deep way to our ongoing search for intimacy, tenderness, communication, and different attachments to objects and nature. Even now, it's a far more satisfying read than many rushed-to-publisher analyses of the current situation." Review 31 ---------- "A disturbing and gripping mind-boggler, at once hilarious and nightmarish." Mubi's The Notebook ---------- "Fantastic: an absurd novella [...] strange funny and painful." Roland Barf's Film Diary ---------- "A modernity in which things and their values are shifting and loose [...] This is postmodern as in 'after the present.'" Manchester Review of Books ---------- "Guerra as a solo artist turns out to be every bit as talented, original, and challenging as the directors he worked with" a Criterion Collection October Book of October ----------"Powerfully written, and endlessly mesmerising, it's a story both timeless and incredibly resonant in 2020." Left Lion ---------- "At times wildly funny and at others disturbing." A Burley Fisher Book of the Year ---------- A South London Gallery Christmas Book Choice.

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Book Synopsis'Perhaps the luminous novel is this thing that I started writing today, just now. Maybe these sheets of paper are a warm-up exercise. [...] But it's quite possible that if I go on writing - as I usually do - with no plan, although this time I know very well what I want to say, things will start to take shape, to come together. I can feel the familiar taste of a literary adventure in my throat. I'll take that as confirmation, then, and start describing what I think was the beginning of my spiritual awakening - though nobody should expect religious sermons at this point; they'll come later. It all began with some ruminations prompted by a dog.' A writer attempts to complete the novel for which he has been awarded a big fat Guggenheim grant, though for a long time he succeeds mainly in procrastinating - getting an electrician to rewire his living room so he can reposition his computer, buying an armchair, or rather, two: 'In one, you can't possibly read: it's uncomfortable and your back ends up crooked and sore. In the other, you can't possibly relax: the hard backrest means you have to sit up straight and pay attention, which makes it ideal if you want to read.' Insomniacs, romantics and anyone who's ever written (or failed to write) will fall in love with this compelling masterpiece told by a true original, with all his infuriating faults, charming wit and intriguing musings.Trade Review'This is the latest posthumously translated novel from the Uruguayan Levrero, whose Montevideo apartment was, to quote his translator McDermott, "the centre of a small universe...his legendary literary workshops, which followed an 'unmethodical method' designed to put people in touch with their imagination, produced hundreds of students who consider themselves his disciples." Here, a novelist receives a generous grant that produces an insuperable writer's block. As with Empty Words, in which the protagonist attempts 'graphological self-therapy' (handwriting exercises) to better himself, this is a digressive, Sternean tale in which interruption becomes a kind of illumination.' The Millions, 'Most Anticipated: The Great Second-Half 2021 Preview'---'There's no getting around that this is a rather long novel in which relatively little happens; this is not necessarily trying for the reader-even at it's most everyday-mundane, the diary, for example, is a quite amusing read-but this is a novel which certainly does take its good time. [...] An expansive chronicle of what is ostensibly a failure-the inability to write what the author conceives of as a 'luminous novel'-, The Luminous Novel succeeds. There is a lot to this work.' Michael Orthofer, The Complete Review---'The contradictions between how he experiences his life and how he lives it become evident, as does his obliviousness to the gap in his perception, even when it stares him in the face. Because of this fractured perspective, his story becomes universal . . . The Luminous Novel is a postmodern novel about the contradictions of everyday life, in which an author's struggle reveals that life is what happens when we are busy doing other things.' Foreword Reviews---'This is literature in the same way that John Cage's 4'33" is music.' Publishers Weekly---'A masterwork ... Levrero's big problem, consuming him throughout the book, is that he's won a Guggenheim fellowship to write a novel that is overly ambitious to the point of being impossible. ... Levrero delights in not meeting his obligation to Guggenheim ... Fans of Perec, Coover, and other experimentalists will enjoy Levrero's epic struggle not to write this book. Kirkus, starred review---'From domestic distractions to doubt and crippling insomnia, never has a book about the repetitious banality of the process of writing a novel - or, in fact avoiding writing a novel - been so compelling and accurately rendered. Mario Levrero turns the act of procrastination into a supreme art form.' Benjamin Myers---'From domestic distractions to doubt and crippling insomnia, never has a book about the repetitious banality of the process of writing a novel - or avoiding writing a novel - been so compelling and accurately rendered. Mario Levrero turns the act of procrastination into a supreme art form.' Ben Myers---'We are all his children.' Alvaro Enrigue---'Levrero is an author who challenges the canonical idea of Latin American literature. If you really want to complete the puzzle of our tradition, you must read him.' Juan Pablo Villalobos, Granta ---'The Luminous Novel could qualify as a new instalment in the literature of boredom, except that it's too charmingly, haplessly funny to be boring.' Lily Meyer, NPR---'The Luminous Novel is Levrero's greatest work, which he wrote by forcing himself to write it, knowing beforehand that what he wanted to write was impossible. That's why, instead of the novel, he narrates the distractions that sidetrack him from the novel. It's not so surprising that the happiest moment in The Luminous Novel is when Mario Levrero manages, finally, to fix Word 2000. Surely, fixing Word 2000 is easier than writing that unfathomable novel that Levrero writes but doesn't write. But to write the luminous novel it is necessary to pass through the dark novel; to make true literature it is crucial to turn to, as he says, fraudulent literature. Novel without a novel; literature without literature.' Alejandro Zambra

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Book SynopsisWhile her mother is in the hospital with a grave but unnamed illness, Marina spends the summer with her grandmother, waiting to hear whether she'll get to go home or be bundled off, newly orphaned, to a convent school. There are no rules at Grandma's, but that also means there are no easy ways to fend off the visions of sex and violence that torment and titillate the girl. Presenting a unique and vivid take on the coming-of-age novel, Oldladyvoice reimagines childhood through the eyes of its one-of-a-kind, hilarious, perceptive and endearing narrator.Trade Review‘Sad, funny, sharp, and poetic: the best possible ingredients for a book. The perfect chronicle of a smart girl in a stupid world.’ Ben Brooks----‘Perfectly captures what it was like to be a kid in the mythologised ’90s.’ Vice ----‘Elisa Victoria handles the child’s narration dexterously . . . Relying on short, declarative sentences, Victoria has a knack for bringing characters to life in few words.’ New York Times ----‘As a general rule, I am opposed to fiction written from the perspective of a child. It’s not that I’m uninterested in childhood as a concept, or even in children themselves – far from it – but some writers use childhood as a lazy shortcut, an easy way to introduce such broad themes as “innocence lost.” . . . Happily, the Spanish writer Elisa Victoria’s debut novel, Oldladyvoice (translated by Charlotte Whittle), is the exact opposite of this. . . Childhood makes a lot more sense when you remember that children are basically madcap little degenerates, fascinated by their own filth, and I love that Victoria isn’t shy about portraying this.’ Phrasebook ----‘A tender and poignant story, full of light and just the right amount of wickedness.’ El Mundo ----'From the first page, a seductive universe comes into view. It's similar to love at first sight, and there's no need for hesitation, just for the most innocent surrender.' Elvira Linda, El País ----'Good novels find their protagonist's voice and make the reader feel close to them. Such is the case of Oldladyvoice. [...] The magic of Oldladyvoice also lies in its supporting characters (the grandmother, mother and mother's boyfriend) and the conversations they have with Marina, which can make you smile and break your heart in the same line.' Paula de Aguirre, Le Cool Barcelona ----'Marina is firing the last bullets of her childhood, and she does it in a clean, powerful shot of poetry, hope, and zest for life.' Cesar Prieto, Efe Eme music magazine

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Book SynopsisLonglisted for the 2022 International Booker Prize Winner of the 2023 Jabuti Prize in the Brazilian Book Published Abroad category Federico and Lourenco are brothers. Their father is black, a famed forensic pathologist for the police; their mother is white. Federico - distant, angry, analytical - has light skin, which means he's always been able to avoid the worst of the racism that Brazilian culture has to offer. He can 'pass' as white, and yet, because of this, he has devoted his life to racial justice. Lourenco, on the other hand, is dark-skinned, easy-going, and well-liked in the brothers' hometown of Porto Alegre - and has become a father himself. As Federico's fiftieth birthday looms, he joins a governmental committee in the capital. It is tasked with quelling the increasingly violent student protests rocking Brazil by overseeing the design of a software program that will adjudicate the degree to which each university applicant is sufficiently black to warrant admittance under new affirmative-action quotas. Before he can come to grips with his feelings about this initiative, not to mention a budding romance with one of his committee colleagues, Federico is called home: his niece has just been arrested at a protest carrying a concealed gun. And not just any gun. A stolen police service revolver that Federico and Lourenco hid for a friend decades before. A gun used in a killing. Paulo Scott here probes the old wounds of race in Brazil, and in particular the loss of a black identity independent from the history of slavery. Exploratory rather than didactic, a story of crime, street-life and regret as much as a satirical novel of ideas, Phenotypes is a seething masterpiece of rage and reconciliation.Trade Review'A searing indictment of racism and privilege in Brazil, and an uncompromising challenge to the country's idealised view of itself as a racial democracy.' Angel Gurria-Quintana, Financial Times ---- 'An artfully plotted tale about race, privilege and guilt . . . careful reading proves richly rewarding.' Lucy Popescu, The Observer ---- 'Phenotypes underscores how difficult antiracist projects can be at any scale...Scott's characters quickly abandon the possibility of a comprehensive solution in favor of stopgap measures that may or may not work. Such are the inadequacies, the novel asserts, of treating entrenched and systemic issues as if they are only skin-deep.' New York Times Book Review ---- 'A compelling exploration of the fraught reality of race relations in Brazil . . . there is much that English-speaking readers stand to gain from the considered, quiet fury of Paulo Scott's novel, not least the expansion of and challenge to modern-day discourses on race.' Laura Garmeson, Times Literary Supplement ---- 'A blistering examination of Brazil's fraught racial history told through two brothers, one light-skinned and one dark-skinned.' Katie Goh, i-D (Books to Read 2022) ---- 'Phenotypes is...brilliant and emotionally resonant. I put it down days ago, and I'm still walking around with it.' Star Tribune ---- 'Phenotypes is a complex, stream-of-consciousness novel about race, culture, and deciding for oneself where one belongs.' Foreword Reviews ---- '[A] profound story of colorism and familial loyalty set in Brazil...The multiple layers combine for a mesmerizing and mature story.' Publishers Weekly starred review ---- 'Scott pours out his indictment of Brazil in long, overflowing sentences that are equal parts outrage and cutting humor. Originally titled Brown and Yellow when it was published in Portuguese...it is not easy to shake off.' Kirkus Review ---- 'Scott seems to have managed to produce a novel that will survive the test of time, a profound interpretation of our time and our country.' Folha de Sao Paulo ---- 'Federico, the white-passing mixed-race narrator of Paulo Scott's stirring new novel Phenotypes, grips you from his opening words, and what a story he has to tell. Ostensibly sending up a Brazilian governmental bureaucracy's attempts to address problems with the racial quota system in its higher education, Scott quickly shows that he has penned a profound, coruscating exploration of race, racism, colorism, family dynamics, class, culture, regionalism, politics, radicalism, and so much more. Scott's intricate, ironic, entrancing narration, skillfully rendered into English by Daniel Hahn, confirms Scott as one of Brazil's finest contemporary writers.' John Keene ---- 'A powerful, complex and very ambitious voice. In the contemporary Latin American literature scene, Paulo Scott is a must-read.' Juan Pablo Villalobos ---- 'Phenotypes demonstrates how the traumas of growing up in a racist society can propel a person of color forward while never letting them escape their past.' Southwest Review ---- '[Phenotypes'] deftly engaging plot . . . twists and turns while exploring race, brotherhood, privilege, and the lasting impact of guilt. Hahn's translation is exemplary, and although this is not an easy read, it is a journey worth taking.' Joshua Rees, Buzz ---- 'Phenotypes is innovative, deftly precise in its form, and utterly profound in its content. Scott's work in bringing contemporary urgencies into fiction is uncomfortable and often unsettling, but necessary-and, ultimately, unforgettable.' Rachel Farmer, Asymptote

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Book SynopsisJuan Pablo Villalobos's fifth novel adopts a gentle, fable-like tone, approaching the problem of racism from the perspective that any position as idiotic as xenophobia can only be fought with sheer absurdity. In an unnamed city, colonised by an unnamed world power, an immigrant named Gaston makes his living selling exotic vegetables to eateries around the city. He has a dog called Kitten, who's been diagnosed with terminal cancer, and a good friend called Max, who's in a deep depression after being forced to close his restaurant. Meanwhile, Max's son, Pol, a scientist away on a scientific expedition into the Arctic, can offer little support. Gaston begins a quest, or rather three: he must search for someone to put his dog to sleep humanely; he must find a space in which to open a new restaurant with Max; and he must look into the truth behind the news being sent back by Pol: that human life may be the by-product of an ancient alien attempt at colonisation . . . and those aliens might intend to make a return visit.Trade Review‘This is a book about xenophobia and racism and the conflicted tug between isolation and community. It makes a fine – and deliciously strange – addition to Villalobos’ already grand personal canon. Wrought with tenderness, wit, and a wonderful sense of absurdity, Villalobos’ latest novel is a triumph.’ Kirkus Starred Review ---- ‘Invasion of the Spirit People is a celebration of closeness, of friendship . . . It implies a vision of the world that is anti-essentialist and anti-territorial, but is instead inclusive.’ Nadal Suau, El Mundo ---- ‘An extraordinary novel that you can read in one sitting and which confirms Villalobos's place among the great writers of the city. Stories of rootlessness like these are as valuable as a sociological treatise, especially when they let you know that there's always a friend nearby to give you a hand, which is something that never appears in manuals.’ Jordi Garrigos, Ara

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Book SynopsisThe protagonist of Ti Amo is a woman who is in a deep and real, but relatively new relationship with a man from Milan. She has moved there, they have married, and they are close in every way. Then he is diagnosed with cancer. It's serious, but they try to go about their lives as best they can. But when the doctor tells the woman that her husband has less than a year to live - without telling the husband - death comes between them. She knows it's coming, but he doesn't - and he doesn't seem to want to know. Ti Amo is an incredibly beautiful and harrowing novel, filled with tenderness and grief, love and loneliness. It delves into the complex emotions of bereavement, and in less than 100 pages manages to encapsulate an extraordinary scope and depth, asking how and for whom we can live, when the one we love best is about to die.Trade Review‘This novella, sometimes hard to read for its bleakness but impossible to look away from, shows that even when we know the destination, the journey is still worthwhile.’ The Guardian ---- ‘Tender, anguished and truthful, Ti Amo recalls a line from a novel by Duras I read years ago: “There are no holidays from love” – as most of us discover, sooner or later.’ The Spectator ---- ‘What is so impressive is her ability to capture – with precision, candour and, indeed, tenacity – her shifting sense of self, as the foundations on which it rests crumble with every passing moment.’ Wall Street Journal ---- ‘The most skilful of writers…you need this Norwegian writer on your bookshelf.’ The I ---- ‘Ti Amo is a complex look at grief, love and loneliness, longing, not veiled within a wider narrative or hidden under layers.’ The Skinny ---- ‘The novel shares a compassionate vision, bridging the gulf between the one who will go on and the one who will not ... A remarkably frank and finely sieved account of two people approaching the ultimate parting of the ways.’ Kirkus Reviews, starred review ---- 'What do we really talk about when we talk about "truth" in literature? Orstavik's painful book on grief provides rich answers. Thoughtful and - even for her - enormously raw, Orstavik accomplishes an astonishing amount in very few pages.' Morgenbladet ---- 'An exceptionally good novel about grieving and waiting . . . Orstavik writes so well that the book feels essential, timeless and universal.' Aftenposten ---- 'Orstavik writes mercilessly and beautifully about losing her husband. This little novel is a heart-breaking gem. Ti Amo is an endlessly sorrowful novel, but it's written with such forceful presence, a kind of wonder and tenderness towards life and a celebration of love, that you can't help but feel enriched by reading it. It's very hard and very beautiful.' Information ---- 'One of the most powerful things about the book is its description of the process of losing someone to illness. The time it takes. That it's possible to feel bereaved even before death arrives . . . It's exhausting reading, breathless in its resignation . . . And then, midway through the book, there is a turning point. This is where the book really grabbed me, catching me off guard, brilliantly. Without revealing too much, I will say that it's one of life's ambushes deep down in the valley of death, equal parts dream and taboo, possible and impossible, an incident that gives grief a nuance it can probably only have for those who have stared into its eyes long enough.' Klassekampen ---- 'This little novel from Orstavik opens up spaces full of emotion and wise thoughts about life, love and death. All we can do is say thank you, and enter.' Klassekampen, Best of 2020 ---- 'Hanne Orstavik has written perhaps her finest novel about her life's greatest loss.' Adresseavisen, #1 on the Best of 2020 list ---- 'With Ti Amo, Hanne Orstavik rediscovers the intensity and presence of her first novel Love. Ti Amo explores the liminal experiences that a novel can contain. At the same time we see her oeuvre from a new perspective. It's a powerful novel about loving, and her best in a long time.' Astrid Fosvold, Vart Land, Best of 2020 ---- 'A tender novel about losing your closest one to cancer . . . perceptive, thoughtful and brilliantly written . . . [Orstavik's] novels are characterised by her use of language and words to create identity. She has never done it as successfully and satisfyingly as now . . . above all it's a beautiful novel. About love in a real sense.' Adresseavisen, 6/6 stars ---- 'What is true? What is real? How do you get inside another human being? These questions have been central throughout Hanne Orstavik's work. In her latest novel, Ti Amo, in a story which is her own, she takes these questions to another level . . . Orstavik has an impressive ability to expose a person's inner world, to find a way in to where it hurts the most and explore complex experiences in simple prose, without everything falling apart.' Vart Land

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Book SynopsisShortlisted for the 2011 Guardian First Book Award and the 2012 Oxford-Weidenfeld Translation Prize Tochtli lives in a palace. He loves hats, samurai, guillotines and dictionaries, and what he wants more than anything right now is a new pet for his private zoo: a pygmy hippopotamus from Liberia. But Tochtli is a child whose father is a drug baron on the verge of taking over a powerful cartel, and Tochtli is growing up in a luxury hideout that he shares with hit men, prostitutes, dealers, servants and the odd corrupt politician or two. Down the Rabbit Hole, a masterful and darkly comic first novel, is the chronicle of a delirious journey to grant a child's wish.Trade Review'Down the Rabbit Hole is a miniature high-speed experiment with perspective ... a deliberate, wild attack on the conventions of literature.' Adam Thirlwell---'This is a novel about failing to understand the bigger picture, and in its absence we can see it more clearly.' Nicholas Lezard, Choice of the Week, The Guardian ----'Juan Pablo Villalobos brilliantly encapsulates the chaos of a lawless existence in which anything might happen and everything goes.' Lucy Popescu, The Independent----'The cumulative parodic effect is chillingly powerful.' Edward King, Sunday Times----'Villalobos creates Tochtli's half-corrupt, half-innocent world with a brilliant, tragi-comic light touch.' Jane Shilling, Daily Mail----'A novel that breaks our hearts (which we knew were broken, but still hurt) and invites us to both laugh and think.' El Economista

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Book SynopsisItaly’s great chronicler of the macabre and of growing up geeky. Long before the latest vogue for autofiction, Michele Mari, one of Italy's most beloved authors, cast his mind back to the days of his own childhood, and found it crawling with monsters. Raised on comic books and science fiction, the young Mari constructed an alternate universe for himself untouched by uncomprehending grownups or sadistic peers. Compared to the horrors of real life, Long John Silver and Cthulhu made for positively cuddly company; but little boys raised by beasts may well grow up beastly-or never grow up at all. Waking or sleeping, the obsessions of Mari's youth seem to haunt his every adult thought. You, Bleeding Childhood stands as his first attempt to catalog this cabinet of wonders. Cult classics since their first publication, these loosely connected stories stand as the ideal introduction to a fantasist on a par with Kafka, Poe, and Borges.Trade Review'Short stories from an Italian maestro finally translated into English [...] Amusing, disturbing, intoxicating tales of childhood terrors and obsessions.' Kirkus Reviews, starred review ---- 'Mari makes his English-language debut with a dazzling and sometimes surreal collection of reminiscences on childhood obsessions. [...] Mari delivers trenchant satires of nostalgia with deadpan grace and wit, resulting in stories that are as heartfelt as they are humorous, with great care given to descriptions of the characters' foibles and idiosyncrasies. This is not to be missed.' Publisher's Weekly, starred review ---- 'If I were to give a book award to a living Italian writer, man or woman, I'd pick Michele Mari.' Domenico Starnone, I-Italy ---- 'The greatest living Italian writer.' Andrea Coccia, Linkiesta ---- 'Michele Mari has written only beautiful books. The most beautiful of the beautiful is the short story collection You, Bleeding Childhood.' Elena Stancanelli, La Repubblica ---- 'The charm that Mari exercises on his readers, from the most devoted to the most distracted, is incredible . . . More than anyone else, Michele Mari represents today a model of writer that seems on the point of disappearing - fully literary, lofty, in short, twentieth-century.' Sara Marzullo, Esquire ---- 'Emotion, anger, nostalgia: but also affectionate humour, indulgent sympathy [in] a work that masterfully combines elegance and irony, psychological acumen and an understanding of form, eclectic culture and emotional vulnerability. [The work of a child] who developed an unstoppable passion for adventure books, for comics . . . [who] cultivated a fetishistic relationship with thought, with the imagination; but also with a stubborn self, wounded by the intensity of his perceptions.' Alida Airaghi, SoloLibri ---- 'Michele Mari's mythology is that of the great darkness of Romanticism, even if he contemplates the oceans and the far places of the Earth from the safety of his library. I don't know if he is devoured . . . by an obsession, or if he is deeply enchanted . . . as by a vision he had in a dream . . . [But] he loves the darkness: crisscrossed by lightning, furrowed by thin trails of light. Around that night, his skillful rhetoric builds an endless echo chamber, in which his one voice resounds with the manifold voices of literature itself.' Pietro Citati, La Repubblica ---- 'The world of Michele Mari is a world where monsters and tutelary gods (interchangeable?), where sixteenth-century literature and classic sci-fi pocket paperbacks coexist in sinister harmony; where writing is exorcism and never punishment: the only way to escape the quotidian . . . Mari is one of those writers who feed on their own obsessions, know how to paint them with words and phrases, to arrange those phrases into novels embodying those same obsessions.' Tiziano Gianotti, Linkiesta

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Book SynopsisWinner of the 2020 Leipzig Book Fair Prize Longlisted for the 2022 Prix du Meilleur Livre Etranger Shortlisted for the 2022 Prix Femina etranger #1 on the Spiegel Bestseller List November 1989. The Berlin Wall has just fallen when the East German couple Inge und Walter, following a secret dream they've harboured all their lives, set out for life in the West. Carl, their son, refuses to keep watch over the family home and instead heads to Berlin, where he lives in his father's car until he is taken in by a group of squatters. Led by a shepherd and his goat, the pack of squatters sets up the first alternative bar in East Berlin and are involved in guerrilla occupations. And it's with them that Carl, trained as a bricklayer, finds himself an initiate of anarchy, of love, and above all of poetry. Winner of the prestigious Leipzig Book Fair Prize and a bestseller in German already with 150,000 copies sold, Star 111, musical and incantatory, tells of the search for authentic existence and also of a family exploded by political change which must find its way back together.Trade Review‘There aren’t many books that can be cited as the missing link between Uwe Johnson’s Anniversaries and Roberto Bolaño’s The Savage Detectives, and still fewer that could live up to the comparison, but Lutz Seiler (with impeccable assistance from Tess Lewis) makes it look easy. Star 111 is a brilliant, immersive, sometimes funny, slyly moving book with a main character who walks through the new reality he finds himself in like an astronaut exploring alone beneath a strange, harsh, beautiful sun. A stellar achievement.’ Will Ashon ---- 'It took Lutz Seiler, born in East Germany, thirty years to give to the moment [of the Fall of the Berlin Wall] the full richness of fertile and ambiguous human experience. With its ample narrative and powerful imagination, Star 111 is the "Wenderoman" par excellence, the great novel of the "turn", as German reunification is called.' Christine Lecerf, Le Monde des livres ---- 'The Berlin of Star 111 wakes a longing for a city like no other. You want to linger there in the squatted Assel bar where workers, hookers and departing Soviet soldiers cross paths with anarchists full of ideas.' Frederique Fanchette, Liberation ---- 'The presence of objects have is no doubt one of the most extraordinary things about Star 111. Everything is unique, everything has a price, everything is respected because it is the fruit of work or of making. Nothing is thrown away, everything kept. What if the objects have a soul? Read Star 111 (the title is the name of an East German transistor radio) and understand the real value of an object.' Cecile Dutheil de la Rochere, AOC ---- 'Lutz Seiler reaches the level of a Thomas Pynchon here. [...] This is atmospherically rich, true world literature. World literature is, after all, that which lets me see the world with different eyes, which shows me a part of the world I have not seen before. And this is what Seiler manages to do in Star 111.' Denis Scheck, SWR lesenswert ---- 'Star 111 reveals the fiery nucleus of everything political, its dual nature: the unity of poetic rapture and the mysticism of the revolution. [...] Lutz Seiler has the ability to describe the ridiculous, overheated and even the unconscionable of that political romanticism without having to denounce the original impulse. That's what makes Star 111 great literature.' Ijoma Mangold, Die Zeit ---- 'Star 111 is a novel full of hard-hitting, deeply moving psychology, full of scenes in which people shake the foundations of a reality that is in the process of creating new laws for itself.' Paul Jandl, Neue Zurcher Zeitung ---- 'The [goat in the novel], the reader understands, knows neither longing nor nostalgia. The fact that the novel shares, in this regard, the view of a goat, is its last and biggest virtue.' Thomas Steinfeld, Suddeutsche Zeitung ---- 'For the second time now Lutz Seiler has achieved something rather extraordinary: to talk about how one actually leads a poetic existence, a matter that is as euphoric as it is cruel, in a novel that is "accessible" in the best sense of the word.' Jan Wiele, Frankfurter Allgemeine Zeitung ---- 'Lutz Seiler talks about a city and a time that seemed to have been exhausted in fiction. But he creates a new fascination.' Jona Nietfeld, Der Tagesspiegel ---- 'It has been a long time since anyone has talked about those foggy years, glossed over with garish colours by other writers scores of times, more movingly than Lutz Seiler.' Anja Maier, die tageszeitung ---- 'Seiler tells a story of freedom in a poetically-precise style.' Der Spiegel ---- 'This is much more than a historical novel. It condenses an era and invokes the great panoramas of consciousness of modernity in a highly independent way.' Helmut Boettiger, Deutschlandfunk Kultur ---- 'This unexpected novel about post-reunification from the partially decayed, far from gentrified Berlin convinces with its unique atmospheric density, its gentle irony and the devotion to the matter at hand.' Bayerischer Rundfunk ---- 'With Star 111, Lutz Seiler presents a great novel that talks enchantingly about departures and downfalls, about social utopias and societal realities, about humiliation and pride. Fascinating.' Katja Weise, NDR Kultur ---- 'What distinguishes it from the many Berlin-Reunification-books is that there is not a trace of caricature, no manipulative narrative, but still captivating entertainment.' Roland Gutsch, Nordkurier ---- ‘Drawing on a history at once recent and ever more distant, Seiler's dazzling novel recounts just what must be lost for an artist to be made.’ Roland Bates, Kirkdale Books

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Book SynopsisAppearing for the first time in English, Deceit is the debut novel by Yuri Felsen, a leading modernist writer of the interwar Russian diaspora. Known by his contemporaries as ‘the Russian Proust’, Felsen died in the gas chambers at Auschwitz, his life and legacy destroyed by the Nazis.Written in the form of diary, Deceit is a psychological self-portrait of an unnamed narrator, a neurasthenic and aspiring author, whose often-thwarted pursuits of his love interest and muse provide the grounds for his beautifully wrought extemporizations on love, art and human nature. Modulating between the paroxysms of his tormented romance and his quest for an aesthetic mode befitting of the novel he intends to write, Deceit is a remarkable work of introspective depth and psychoanalytic inquiry.Like voyeurs, party to his most intimate thoughts, we accompany the diarist as he goes about Paris, making enraptured preparations for the materialisation of his fantasy, observing not only his eagerness, dreaminess and poetic inclinations, but also his compulsive desire to analyse his surroundings and self. Yet amid these ravishing flights of scrutiny we discern hints of his monomaniacal tendencies, which blind him from the true nature of his circumstances. Thus begins an exquisite game arranged by the author, wherein it falls to the reader to second-guess the essence of what really lies behind his narrative.Trade Review'This is ... real literature, pure and honest.' Vladimir Nabokov 'The miracle of Yuri Felsen is how his apparently Nabokovian rhythms lull you into a false sense of security, before a sudden and chilling exposure to the weather of a walk where the whole elegantly interwoven conceit of the narrator is ripped apart. And the pain of someone like Walser glints through a decadent surface of exiled life in Paris, to hint at darker shadows to come.' Iain Sinclair 'Deceit is a strange and beautiful dream, an intimate and tragic love letter from a lost world.' Camilla Grudova'Towards the end of this strange novel in the form of a strange diary the narrator declares that "it is impossible to live without deceit". What has preceded this bald statement is the work of a connoisseur of deceit in its multitudinous forms, the most potent being a subset of self deceptions described in painful raw detail. It’s a work steeped in absolutely joyous misery.' Jonathan Meades'Dark thickets of language part to reveal a pearl of psychological prose and a highly actual account of the psychic impermanence of migration.' Sasha Dugdale

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Book SynopsisA dystopian page-turner about the coming of age of a young hero, which won the 2017 EU Prize for Literature. A fishing village at the end of the world. A lake that is drying up and, ominously, pushing out its banks. The men have vodka, the women troubles, the children eczema to scratch at. Born into this unforgiving environment, Nami, a young boy, embarks on a journey with nothing but a bundle of nerves, a coat that was once his grandfather's and the vague idea of searching for his mother, who disappeared from his life at a young age. To uncover the greatest mystery of his life, he must sail across and walk around the lake and finally dive to its bottom.Trade Review'[T]he fresh water of Czech literature' - Hospodarske Noviny; '[O]ne of the most remarkable books of the last years.'- Mlada Fronta dnes; 'A criticism of the Soviet Union, of extinction, of the modern world. Written in such colourful way that one at times seems the stand in front of Andrej Tarkovsky's camera.' - Krajske Listy

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Book SynopsisIt is 1984 and a small town somewhere in the east of the Czechoslovak Socialist Republic is in the firm grip of totalitarianism. Unruly and sickly Karolína is growing up in an all-female household including her hot-blooded, knife-wielding grandmother. Repelled by her mum’s serial love affairs Karolína runs away and stumbles upon a riding school on the edge of town. There, she befriends Romana, a girl with one leg shorter than the other and Matilda, a rider and trainer who helps the two girls overcome their physical limitations. Together they found a successful trick-riding team and soon it seems that half flags, mills and scales are not the only tricks flashing like blades up her sequinned sleeve as Karolína explores Pink Floyd and smoking, and discovers her knack for seeing deep into others’ souls. The fall of the Iron Curtain in 1989 and the subsequent arrival of capitalism threatens to destroy the riding school. The team has to turn professional. But in a sport of perfect scores is there still room for Romana and Karolína...? The Equestrienne is a poetic, caustic coming-of-age novel about the desire of one young girl to realise her dreams before and after Velvet Revolution; it is a celebration of friendship between women and also a bitter acknowledgement that greed and the desire for power can destroy any relationship.Trade Review‘This little book – it is only 80 pages long – packs a punch beyond its size [...] Her riotous, funny and painful parable is of a country and a girl in the throes of a revolution, of order turned upside-down.’ - Marta Dziurosz, European Literature Network; ‘Powerful... an enjoyable read.’ - Joseph Surtees, STORGY

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Book SynopsisIn 1837, at the height of the Carlist Wars and a time of conflict between the past and future, a young Prussian man crosses the Pyrenees to fight for the ‘Order’. Finding himself trapped in the ruins of an abandoned city, his bewilderment at the war and what it means increases. Friendship, family, religion and politics: everything is distorted, transformed or destroyed. The Others oscillates masterfully between humour and tragedy and is a novel full of music, eccentric characters and extraordinary scenes.Trade ReviewAndrew Mcdougall, Bookblast. Full review here Once more, the triumph of Garrigasait’s novel is in making nineteenth century material feel so relevant. Many of the debates of the day, with words changed here and there, are not so different from the questions society still faces. John-Paul Davies, Buzz Magazine Garrigasait is a strong and supple writer to deal with such merges of time and place, research and reimagining, but each shift strengthens the story. The consistency of tone is confusing yet coherent; Tiago Miller’s translation is, I can only imagine, expert. The soldiers and locals speak in a common language that comes straight from contemporary London but is equally modern and brilliantly reinforces the constant off-setting. Weilemann and Foraster’s dreamlike musical reveries are stunningly rendered and I can’t think of any writing that has so successfully captured the minutia and wholeness of music as this book does. In Under 300 I was expecting a novel full of unrivalled bravery and stoicism, but instead, what The Others presented was a funny, witty, and intelligent portrayal of life in this environment. The character interactions explore clashing ideologies, shifting politics, and muddled outlooks that seemingly all blend as one. What the community ultimately desire is unclear, for both the reader and Wielemann. Paul Cheney, Half Man Half Book I liked this book overall, the prose is richly detailed and full of vivid descriptions. It is full of subtle nuanced humour, especially between von Wielemann and the men he is in charge of. Eleanor Updegraff, The Monthly Booking Tiago Miller’s text is graceful in tone and structure, differentiating slightly in style between the present-day and historical sections, and giving us a sharp narrative voice that wavers between humour, melancholia and, just occasionally, a hint of bitterness. Though this line refers to one of the characters in the novel, Miller as well as Garrigasait has proved himself more than capable of ‘making his words fall in with the style of a competent commander’. The result is a coolly immersive and thoughtful novel that asks some of life’s big questions, but is of itself an absolute pleasure to read. —from The Modern Novel This really is an excellent book as Garrigasait tells a very clever story, uses ribald humour to portray the military and the Catalans, mocks the Prussians and raises some serious issues, while delving into the history of his own region. Translator Tiago Miller clearly had some fun, trying to convey the Leida dialect of Catalan into colloquial English, as he tells us in the afterword. Sam Abrams, El Mundo The Others forces us to leave our comfort zone, and to steer away from indifference, banality, and conformity. A magnificent book! Toni Sala, Ara This fantastic book provides us with a reflection of our modern-day selves. The echoes with the present are so intense that it leaves you breathless after every phrase. The Others has the courage to force us to ask ourselves: ‘What skeletons lurk in our cupboards?’ Jordi Puntí, El Periódico This majestic novel contains moments or tenderness, humour and violence. Garrigasait’s writing is both precise and totally brilliant, and allows us to take a closer look at a country and mentality that is still with us almost two centuries later.

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Book SynopsisIn the eight stories presented in The Song of Youth, Montserrat Roig (Barcelona, 1946-1991) employs language as a weapon against political and social “dismemory”, enabling the stories of those silenced by the brutal Franco regime to come to the fore. Feminist, critical but always lyrical, Roig’s writing gives shape and meaning to the human experience.Trade Review‘Montserrat Roig, before her untimely death, was a shining light of Catalan literature. The stories in ‘The Song of Youth’ show her at her most urgent, energetic and inventive. While most of the stories are clearly set in the Catalonia of the 1970s and 1980s, they also have the quality of timeless fable.’ — Colm Tóibín ‘Although covering numerous challenging topics, the stories are relatable in the characters that populate each page. The writing flows easily, maintaining an engaging pace. There is depth as well as humour, a poignancy in the unflinching portrayal of how people judge both others and themselves. A deftly written collection of short form fiction that I am glad to have read.’ — Jackie Law, Never Imitate blog. Full review HERE ‘Montserrat Roig is one of far too many women authors whose work has taken far too long to be translated into English. These stories, in this excellent translation, will introduce readers to a remarkable writer, who, though not always comfortable to read, is always searingly honest.’ — Margaret Jull Costa, three-times winner of the Oxford-Weidenfeld Translation Prize ‘The Song of Youth represents an array of lagoons in which Montserrat Roig’s most extraordinary flowers lay their roots.’ — Eva Baltasar, author of Permafrost ‘Gracefully translated and filled with stark beauty, this multi-layered collection is complex yet enthralling, and, with time, only keeps on giving.’ — Eleanor Updegraff, The Monthly Booking ‘Roig’s writing (and Miller’s translation) has a rhythm and engagement to each story, with character’s feeling vividly realised and fully formed. Stories that take 10 pages are just as engaging as stories that take two: it’s an incredibly interesting book.’ — Seren McKeever, Buzz Magazine ‘Roig’s writing leaves the reader with a vivid sense of time and place, but also invites them to consider how quickly real lives become fable, how easily we absorb war, oppression and pain into our collective memory. The effect of this is both soothing and unsettling, but perhaps this is where the acute sense of power in Roig’s work lies; in remembering things as they really were, on both a personal and political level, in all of their pain and beauty.’ — Claire Carroll, Lunate Magazine ‘In two decades of incredible, inspirational writing, Montserrat Roig left an indelible mark on Catalan literature that is finally being brought to the international community.’ — Jordi Nopca, author of Come On Up‘Montserrat Roig, before her untimely death, was a shining light of Catalan literature. The stories in ‘The Song of Youth’ show her at her most urgent, energetic and inventive. While most of the stories are clearly set in the Catalonia of the 1970s and 1980s, they also have the quality of timeless fable.’ — Colm Tóibín ‘Although covering numerous challenging topics, the stories are relatable in the characters that populate each page. The writing flows easily, maintaining an engaging pace. There is depth as well as humour, a poignancy in the unflinching portrayal of how people judge both others and themselves. A deftly written collection of short form fiction that I am glad to have read.’ — Jackie Law, Never Imitate blog. Full review HERE ‘Montserrat Roig is one of far too many women authors whose work has taken far too long to be translated into English. These stories, in this excellent translation, will introduce readers to a remarkable writer, who, though not always comfortable to read, is always searingly honest.’ — Margaret Jull Costa, three-times winner of the Oxford-Weidenfeld Translation Prize ‘The Song of Youth represents an array of lagoons in which Montserrat Roig’s most extraordinary flowers lay their roots.’ — Eva Baltasar, author of Permafrost ‘Gracefully translated and filled with stark beauty, this multi-layered collection is complex yet enthralling, and, with time, only keeps on giving.’ — Eleanor Updegraff, The Monthly Booking ‘Roig’s writing (and Miller’s translation) has a rhythm and engagement to each story, with character’s feeling vividly realised and fully formed. Stories that take 10 pages are just as engaging as stories that take two: it’s an incredibly interesting book.’ — Seren McKeever, Buzz Magazine ‘Roig’s writing leaves the reader with a vivid sense of time and place, but also invites them to consider how quickly real lives become fable, how easily we absorb war, oppression and pain into our collective memory. The effect of this is both soothing and unsettling, but perhaps this is where the acute sense of power in Roig’s work lies; in remembering things as they really were, on both a personal and political level, in all of their pain and beauty.’ — Claire Carroll, Lunate Magazine ‘In two decades of incredible, inspirational writing, Montserrat Roig left an indelible mark on Catalan literature that is finally being brought to the international community.’ — Jordi Nopca, author of Come On Up

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Book SynopsisIn Wilder Winds, Bel Olid presents a stunning collection of short stories that draw on notions of individual freedom, abuses of power, ingrained social violence, life on the outskirts of society, and inevitable differences. Alongside these are small acts of kindness capable of changing the world and making it a better place. Like flowers stubbornly growing and blooming in the cracks of a pavement, Olid’s work seeks out beauty without renouncing truth, and never avoids conflict or intimacy. Wilder Winds creates scenes and fragile, yet hardy characters that will stay with the reader for years to come.

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Book SynopsisHow does one experience things from the viewpoint of the other sex? It is this question that has led to Vildot’s creation of Ruth, the genre-defining story of a sex change told by the protagonist through a series of letters to an anonymous friend. Far from the condemnatory gaze or noise of those who understand life as nothing but outward appearances, Ruth demonstrates the sentimental and intellectual intimacy of a man transitioning into a woman, and describes a profund, touching process in which frustrations, ideas of liberty and changes of identity are interwoven. Without descending into easy morbosity or exhibitions of sensationalist tendencies, Ruth represents Guillem Viladot’s indignation at both masculine and feminine sensibilities, while championing diversity of thought, love, liberty, and, most importantly, desire.Trade Review‘Guillem Viladot is a rebel: insatiable and untiring.’ -Àlex Susanna, editor at Columna ediciones ‘A writer not content with writing poems or prose simply to invoke beauty, but who ever looked to stretch the limits of literary creativity.’ -Pau Echauz, La Vanguàrdia

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Book SynopsisSet on the island of Anjouan, Comoros, Deranged As I Am follows the story of a humble docker. With his ramshackle cart and patched-up clothes, he spends his days trying to find enough work to feed himself. This whirlwind of a novel takes place over just a few days, yet Zamir’s poetic and energetic prose transports us to the docks, its noises, colours, and smells, and the dynamism of his language along with his powerful mix of genres, and the cleverness of his verbal invention perfectly serve this tragicomedy that makes us feel both joy and pity. Yet this lively and often darkly humorous prose does not draw away from the more serious themes of class, poverty, and exploitation that Zamir explores. A rich and significant text that questions literature and language itself, Deranged As I Am confirms the very original place Zamir occupies in French literature.

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Book SynopsisPulling no punches in its 150 pages, Pharmakon is the story of an explosion, of the moment depression blew up the life the author thought she knew and settled in her body. But Pharmakon isn’t a sad book; it is testimony, written with humour and intimacy by one of Spain’s most singular voices, one that deftly combines wit, eccentricity, and warmth. Far from shrinking from taboos, Sánchez grabs hold of her depression and dredges it for the whys and hows, excavating her memory, behaviour, and craters of the mind: here there is infancy and the family home, youth at school in Mallorca and in the fields of Castile; psychiatrists who save and pills that bring her back to life; there are dreams, nightmares, and desires. And books, lots of books—some that serve to escape and others to understand what was happening in her head—because for Sánchez, literature is comfort, quest, and salvation. Pharmakon is an insight, from one of Spain’s most singular voices, into the experience of depression and recovery.

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Book SynopsisA blank voice in the middle of the night tells Michaël Ferrier of the deaths of his friend François and his daughter Bahia. In the following devastation, speech resumes and memories return: how two young loners meet and connect, their years of study, their passion for cinema and radio. Memories unfold and gradually come together in a chronicle of friendship and a memorial to a lost friend. François, Portrait of an Absent Friend is both an elegy to a friend and a wonderfully delicate, poetic look at friendship in general. Ferrier tells us how friendships are formed, how they are lost, how they are maintained, and what happens when they are taken from us. From Paris to Japan, Ferrier transports us to the writer’s time and the place as we feel the pain, the bitterness, and the longing left by François’ death.

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Book SynopsisEmpordan Scafarlata is a mirage of memories written with intelligence, irony, courage and tenderness; linking tradition, modernity, resentment and nostalgia for a mythical country and for that part of the river in which: ‘he will never swim again.’ In a mixture of prose and poetry, Adrià Pujol brings us snippets of Empordà, a region of northern Catalonia wedged between the mountains and the sea, and invites us onto its sweaty, well-trodden, exalted paths. All this he does it by avoiding conventions, clichés and with the sincerity of someone who writes about a world he loves and which for that very reason he does not simplify, rather elaborating it with powerful, eclectic prose, showcasing the writing that has pushed Adrià Pujol to the very forefront of great Catalan writing.Trade Review‘Every page is a festival of words, images and sounds; a machine-gun burst of prose and rhyme, through which he immortalises moments, spaces and characters.’ —SEBASTIÀ ROIG, EL DIARI DE GIRONA. ‘The book is a cunning diary, a game by the author with himself, a blending of the journal of a curious anthropologist with the notebook of a perplexed poet. It is the creative exercise of someone who wants to be chronicler of a specific time and ecosystem, and who also has the will to restore a certain cordial relationship with himself.’ —ISIDRE FERRÉ, NÚVOL.

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Book SynopsisThe pinnacle of Fuster’s essay writing, Final Judgements is a book of aphorisms that, used to teach moral and/or philosophical truths, reveal things that are relevant to the universal human experience. As Adam Gopnick of The New Yorker puts it, “the aphorism is, in its algebraic abbreviation, a micro-model of empirical inquiry.” And Fuster uses the aphoristic tradition, less to establish truths than to undermine them, to question the conceits contained in the established truism. Despite the seriousness of its subject matter, however, this book is laugh-out-loud funny, Fuster’s wit revealing that the best aphorisms are based in stripping language of its artifice and revealing its contradictions, and the cumulative effect is a quintessentially Mediterranean kind of playfulness.Trade Review‘Joan Fuster is one of Catalan literature’s most enduring voices. His sense of humour and insight into the human condition is inspiring.’ -Jordi Llavina, author of London Under Snow and Poetry & Prose ‘Catalan language’s most important essayist of the 20th century and a key figure in the culture and recent history of the Valencian region.’ -Mètode magazine ‘Without doubt, Fuster should be placed up there with Erasmus, Rabelais, Montaigne, Voltaire, Mann and Bertrand Russell.’ -Josep Ballester, Visat

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Book SynopsisA mysterious traveller arrives in Turin for an atypical congress that disturbs the peace of the city while awakening a host of demons. From this enigmatic, hypnotic premise emerges a journey into light and darkness, desire and secrecy. An exquisite odyssey of characters and memorable scenes. Mixing legend, reality and religion, Josep M. Argemí has created a world of demons, exorcisms and another world existing parallel to our own. And he does this in a lyrical style that keeps the reader guessing until the very end.

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Book SynopsisGriselda is the mother of three children, two boys and one girl. On a winter day in the mid-1980s, while exiled in France, she drowned her two sons in the bathtub. After a lapse of more than thirty years, the narrator tracks down the survivors of this family tragedy. She delves into their story in an attempt to approach these barely credible events, and ends up – in the depths of darkness – getting a glimpse of love and life. Laura Alcoba’s subtle, gentle writing accurately captures her characters’ humanity, without any overwrought sentiment, nor emphasis, in spite of the horrific facts. We feel the presence of beings resonating without, however, anyone ever being able to unlock the mystery of Griselda’s act – even Griselda herself. Trade Review“The delicacy and intelligence shown by Laura Alcoba to tell or, more exactly, to try to understand the ins and outs of the double infanticide which took place in an apartment of Argentinian exiles that she herself frequented as a child, make Through the Forest an even more exceptional book.” —Le Monde

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Book SynopsisWhen Anaïs learns of the imminent expropriation of the small family vineyard due to the upcoming construction of an estate, she demands that her father refuse out of dignity. From here, a solitary struggle begins, obsessive and irrational in the eyes of both relatives and neighbours alike, but which Anaïs seems ready to take all the way. Written in sweeping, elegant prose, Maica Rafecas brings us the beauty of the vineyard and the terrible human cost that modern-day capitalism makes us pay. September and the Night is at once an elegy to the land and its people, and a warning against those who might to use it for purely financial gains. This book acts as a rebellion, a reminder of the important things in life, and a call to arms, all within a beautifully written, almost fable-like novel.Trade Review‘An elegy to the power of the human and everyday bond in which all hopes lie. A gift from Maica Rafecas that will accompany us forever.’ —MARIA MESTRE MONTSERRAT. LA CONCA. ‘A demonstration of the efficiency and contained beauty of Rafecas’ prose at its best.’ —GERARD VENTURA, NÚVOL.

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Book SynopsisAn anthology of ten translated texts across seven different languages, each concerned with the themes of moving between spaces, both figuratively and literally. From the graduates of the UEA Master's in Literary Translation 2019 and 2020.

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Book SynopsisThis remarkable Brazilian novel has been garlanded with multiple awards and accolades since its initial publication, as Desesterro: the prestigious Sesc Prize for Literature, the Machado de Assis award and the Jabuti award. The story follows four generations of female characters as they navigate the hardships of life in the parched landscape of the Brazilian sertao. Male figures are peripheral, but are also revealed as the origin of much of the suffering in the novel, generating for the women a kind of exile not only in relation to the land but to their sense of self. This is a ground-breaking feminist work, a bracing modernist fable, of sorts, formally reminiscent of A Girl Is a Half-formed Thing.

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Book Synopsis A book censor is on the look-out for objectionable content; a daughter mourns her father during her journey to fulfill his final wishes; a desperate man runs around a city to pay off his debts. Critical of regimes and nonetheless nostalgic for their home countries, Mo(a)t is a compendium of stories from six different authors reflecting on the paradoxical demands of our day-to-day lives. Each story is written with the author’s unique style, highlighting their skills in contemporary Arabic literature.What binds the stories of Mo(a)t together is the fact that they are transnational. The stories in this anthology are not centered around a theme, but rather, a concept. Each author lives outside their birth country — whether by choice or exile — yet, as writers, they’ve chosen to continue to express themselves in their mother tongue, rather than in the language of their adopted countries. From South Sudan to the Western Sahara, the authors in this collection reveal the symbiotic relationship between ourselves and our communities, and the freedom to step beyond these boundaries.

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Book SynopsisThe latest volume of creative writing from the translation strand of UEA's world-renowned Creative Writing MA, from the 2020/21 student cohort.

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Book SynopsisFamily tension. Poetry, and the trauma of casual racism. An archivist of the distant future. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume one, Muted Voices/voces acalladas.Lady Time by Molly-Rose Medhurst, translated by Ana Sánchez AsenjoSilences by Michaela Vitagliano, translated by Sonia Herranz Martínez and Salomé Torres VargasUnmask Me by Denise Monroe, translated by Paula López García and Olivia Serret Sanz

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Book Synopsis

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Book Synopsis

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