Search results for ""Dalkey Archive Press""

This is the first full-scale biography of one of the most elusive and enigmatic painters of our time: the self-proclaimed Count Balthus Klossowski de Rola, whose brilliant, markedly sexualized portraits, especially of young girls, are among the most memorable images in contemporary art. Balthus’s complexities are clarified and his genius understood in this book that derives its immediacy from Nicholas Fox Weber’s long and intense conversations with Balthus himself–who never previously consented to discuss his life and work with a biographer–as well as Weber’s interviews with the artist’s closest associates. This biography was first published by Knopf in 1999 and is now available for the first time from Dalkey Archive Press.

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A musty bar in off-season Cannon Beach, Oregon, provides the setting for an unsuspecting Frenchman’s introduction to the many ways life can go wrong for the unlucky in America. He listens as the barflies nightly recount their tales of woe—betrayal, broken families, financial ruin. Though they seem at first to tolerate the newcomer’s presence and sympathy, a tide of violence is rising, one he perceives only dimly until it is too late to escape. Made doubly powerful by her poetic fascination with the violence and volatility of the American landscape itself, Montalbetti’s novel is a thrilling study of the senseless cruelty disappointed men are capable of.

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In a parallel or future Estonia, whose language has been outlawed and its native population deported after the invasion by the Russian Tsardom, Nikolai Vasilievich Gogol is resurrected, Christ-like, bringing phantasmagoric mayhem to the sleepy town of Viljandi. By the end of the story, four evangelists will have emerged from the novel’s ragtag cast of Russian- speaking beatniks, bohemians, booksellers, blaggers, and Beatles- maniacs to write their subversive Gogol Gospels in the local insane asylum, despite efforts to thwart them on the part of the mysterious Murka, heroine of a criminal underworld ballad and agent of the Tsardom’s secret police. By turns exuberant, grotesque, erudite, oneiric, hilarious, mystical, psychedelic, and dystopian, Gogol’s Disco tells the parable of a small nation, whose gigantic neighbor quite literally consigns its literature to the latrine, only for it to rise from the dead in a literarily spectacular apocalypse in the best traditions of Bulgakov and magic realism.

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13 October -01 and inching toward midnight, Lieutenant Frances Villegas sits at a Steinway trying desperately to play Stravinsky’s Petrushka while the Colonel watches, wheezing from a wing chair. They are waiting on the enigmatic voice of the people, Adjutant General Arjún J. Joglar, due to arrive at any minute from Lares. Downstairs, Baldomero Richter, presiding over a captive body stripped bare of clothes, hair, genitals, and one ear, awaits an order to terminate. It is the eve of the Evangelist Insurrection and in a few hours the great city of XXX XXXX will go up in smoke, swallowed by the warm waters of the Caribbean. All of this to declare, finally, independence. 2 March 1917, the Jones-Shafroth Act determined that Puerto Ricans would forever thereafter be mainland American citizens. One hundred years later, The Sovereign marks the centennial anniversary of the Jones Act as both paean and polemic for the history of the island nation. A hybrid chronicle stretching itself in every temporal direction, the charming magical realism of the Latin Boom (that forgot about Puerto Rico) is here warped by the uncanny spectacle of an emancipated colonial imaginary. The Sovereign is an extended meditation on what it means to be ecstatically free-and the blood price a people must pay for that freedom.

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A collection of fifteen stories, Jean McGarry’s No Harm Done, depicts family life at its worst, best, and funniest, as if the author had conjoined the lunacy of Cold Comfort Farm with the bitter grievances of Dubliners. As the author writes in “Strong Boy,” this might be “…because every family, rich or poor, is roughage.” The characters, gallant, goofy, gifted, and grim, include sickly mothers of a dozen children, boozy fathers with a gift of the gab, kids aspiring to be nuns and priests, or just to get out of town with a whole skin. A section is devoted to one marriage made in heaven: a Jewish psychoanalyst devoted to his ex-nun wife. Another set of stories reworks familiar fairy tales, setting them in the wild present. No Harm Done (whose title is Irish code for wishful thinking) concludes with a truce to the war between the sexes, and indeed a `solution’ to the tragicomedy that is marriage and family.

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A young writer has his heart set on his aunt's large apartment. With this seemingly simple conceit, the characters of The Planetarium are set in orbit and a galaxy of argument, resentment, and bitterness erupts. Telling the story from various points of view, Sarraute focuses below the surface, on the emotional lives of the characters in a way that surpasses even Virginia Woolf. Always deeply engaging, The Planetarium reveals the deep disparity between the way we see ourselves and the way others see us.

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Otohiko Kaga’s Marshland is an epic novel on a Tolstoyan scale, running from the pre-World War II period to the turbulence of 1960s Japan. At forty-nine, Atsuo Yukimori is a humble auto mechanic living an almost penitentially quiet life in Tokyo, where his coworkers know something of his military record but nothing of his postwar past as a petty criminal. Out of curiosity he accompanies his nephew to a demonstration at a nearby university, and is gradually drawn into a friendship, then a romance, with Wakako Ikéhata, the brilliant but mentally unstable daughter of a university professor. As some of the student radical groups turn to violence and terrorism, Atsuo and Wakako find themselves framed for the lethal bombing of a Tokyo train.During their long imprisonment the novel becomes a Kafkaesque procedural, revealing the corrupt intricacies of the police and judicial system of Japan. At the end of their hard pilgrimage to exoneration, Atsuo and Wakako are finally able to return to his original hometown, Nemuro, on the eastern-most peninsula of Hokkaido island. Here is the marshland of the title, a remote and virtually unspoiled region of Japan where Kaga sets a large number of extraordinarily beautiful pastoral scenes.Marshland is a revelation of modern Japanese history and culture, a major novel from the hand of a master well-known in his own country, though only the second to be translated into English: the wealth of Kaga’s work in fiction remains to be discovered by the Anglophone world.

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Set in Macedonia at the beginning of the twentieth century, the novel Infidelity draws on myth and history to tell an unusual story of star-crossed lovers.When his proposal to Luna is rejected by her parents, the intrepid Sunny goes to America to earn enough money to win her hand. However, only days after he sets sail, Sunny finds himself drawn to another woman, a passenger aboard the ship taking him to the New World. In a simple, fairytale-like style, told from multiple perspectives, Trajkoski tells an immersive story of inner conflict, heartbreak, and loss.

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Fragma is the debut collection of short fiction by award-winning Slovenian writer Mojca Kumerdej. Kumerdej's writing is witty, lucid, darkly funny—a style that leads us to sympathize with, even as we loathe, characters who are obsessed with their luxury cars and jealous of their own daughters. Her stories of sadism, masochism, codependence, and violence in multiple forms introduce us to an utterly unique voice, valuable for what it tells us about contemporary Slovenia, but even more for what it can tell us about ourselves.

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Mere Chances collects some of Veronika Simoniti’s most singular and strange stories. A linguistic experimentalist in the tradition of Julio Cortazar, Simoniti populates her tales with homeless and nomadic characters struggling to fashion or to maintain their identities as they cross physical and linguistic borders. Whether compelled to communicate in codes not their own or grappling with the loss of language itself, her characters’ struggles to forge stable identities point to the way human language, while fundamental to the formation of the self, is often an unreliable and imperfect tool.

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Alma Mahler presents the imagined memories of a talented, passionate woman living in the shadow of a famous husband. The novel deals with Alma’s marriage to the distant and introverted Gustav Mahler, the Austrian late-Romantic composer and conductor, and with the many intellectual and emotional sacrifices Alma makes in order to be a support for him. Throughout, Alma wrestles with the tension between her desire to be near genius and her growing awareness that all she will ever receive in return for her sacrifice are the great man’s silence and the pains of solitude.

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Written in alternating voices, Jorge Guzman’s Job-Boj is a captivating novel that explores the progression from melancholy to happiness, or vice versa. The delicate interplay between a light-hearted narrator and a brooding, introspective one draws the reader in to question identity. Are they the same man? Two different periods from the same life? Or are they two separate people? The reader is left to judge. While the novel is a superb masterclass in structure and innovation, Job-Boj is a “rich and absorbing entertainment.”

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A forty-year-old man, burying himself in work and avoiding close emotional bonds with people, pays a visit to his mother in the country and is forced to extend it upon discovering her illness. While there, he reevaluates past familial and romantic relationships and finally attempts to build new ones. Gestures is “a psychologically precise and moving autopsy of a `man in the wake of ordeals.'”

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Ch’oe Yun’s Mannequin is a novel that reflects on the meaning of beauty and its many facets of existence. The beauty of the main character, Jini, is captured through a carefree imagination that describes it as “the music of the wind,” or something that can’t be described in words. Through the beauty that penetrates and captivates us in fleeting moments, the novel leads us to critically reflect on the question of what true beauty is in a world where people are captivated by the beauty of advertising models in a flood of new products. In that respect, Mannequin, as the title implies, is a sad allegory on a capitalistic society in which a woman’s body, artificial and standardized, becomes a product.

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REYoung`s latest features a nation buried in snow and ice in an obligatory 365 days a year Christmas celebration, a tribe of Mayan warriors in comedy troupe disguise, an existentially challenged hero known as the Snowman on a quest that takes him south of the border down ol’ Mexico way, and a B-grade movie director named Boone Weller with his own agenda. Is it a book? A movie? Told in a shoot from the hip Texas style, Margarito and the Snowman is loose, rangy, battered with an attitude and bound to offend everybody.

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Johanne, Johanne . . . is an SMS-novel about a young woman’s flight from the often mundane reality of everyday existence and her knife-edge attempt at forging an identity for herself in a lifestyle-obsessed big city environment, where unlimited options seem available at every turn: freedom, career, excitement, sex, love, security, husband and babies, “whatever.” A cleverly constructed, multi-layered story that initially reads as a sexting novel but soon confronts every reader with a range of much deeper questions. A smartphone mirror into the way we live right now, where Fifty Shades of Grey is shocked to meet Flaubert and Ki- erkegaard in digital space.

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At last available in English translation, "Soy Realidad" is Tomaž Šalamun's twenty-first collection of poetry, originally published in 1985. Showing a maturing poet at home as a citizen of the world, "Soy Realidad" ranges far from Šalamun's Slovenia, combining his native language with Latin, French, English, and Spanish, as well as evoking such places as Belize, the Sierra Nevada, and Mexico City. From sex to God, from landscape to literature, Šalamun's poetry is as ever a restless and witty inquisitor, peeling back the layers of the world.

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Eliza travels to Sydney to deal with the estate of her Aunt Dodge, and finds Maxine, a hitherto unknown cousin, occupying Dodge’s apartment. When legal complications derail plans to live it up on their inheritance, the women’s lives become consumed by absurd attempts to deal with Australian tax law, as well their own mounting boredom and squalor. The most astonishing debut novel of the decade, Dodge Rose calls to mind Henry Green in its skewed use of colloquial speech, Joyce in its love of inventories, and William Gaddis in its virtuoso lampooning of law, high finance, and national myth.

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Dublin, some years from now, and the President of the United States has just been assassinated during a state dinner in his honour. The official account has already taken hold but a hawk-eyed octogenarian named Monk, believing that there's nothing that cannot be known, has a version of his own -- a dark and twisted tale of both the watcher and the watched.Nothing gets past a man as invisible as me, he says, introducing us to a cast of damaged characters he has kept under the strictest surveillance for years. Chief among them is Schroeder, recently sacked from Trinity College, where he once taught the Presidential daughter, and is now wandering the city streets in a medicated fugue as sinister and violent events begin to take control of his life. But this, says Monk, is no thriller or invented tale of suspense. It is, he insists, an honest and faithful record of breakage and distress at a time when dysfunction -- personal, local, national, global and even cosmic -- pervades all. A time when everything is already broken and when, in many ways, the shooting of a pill-popping President is neither here nor there. The only thing that matters, Monk tells us, is the truth.And this is why, stationed high in his attic room with a Stoli in a highball, he does what he does. There's divinity in it, he says. And a modicum of love.

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In this collection which contains both autobiography and fiction, the prominent Estonian artist and writer Toomas Vint, whose career spans the Soviet period and Estonia’s re-gaining of independence, demonstrates his characteristic mischievous, dark sense of humour, an artist’s eye for visual detail, and an experimental approach to form. His main themes are the fine dividing line between fantasy and reality, man’s foibles, frailties and capacity for self-deception, and the absurd and sometimes tragicomic nature of the human condition.

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"Man + Doctor" is Nicholas Wadley's wordless story of encounters with doctors, from the patient's attempts to avoid the scalpel, to, once surgery becomes inevitable, watching himself learn to cope with days and weeks spent in hospital beds.

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There is no doubt that Desmond Hogan is one of most remarkable literary talents to have come out of Ireland in the past half-century, and perhaps the best introduction to his work is through his magnificent short stories, widely anthologized and praised throughout the world. Focusing as always on the downtrodden and the eccentric, the misplaced and the dispossessed, Hogan's stories merge past with present, landscape with mindscape-distinctly Irish and burdened by history, while exhilaratingly and wholly universal and modern.

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The long-awaited final work and magnum opus of one of the United States’s greatest authors, critics, and tastemakers, In Partial Disgrace is a sprawling self-contained trilogy chronicling the troubled history of a small Central European nation bearing certain similarities to Hungary—and whose rise and fall might be said to parallel the strange contortions taken by Western political and literary thought over the course of the twentieth century. More than twenty years in the making, and containing a cast of characters, breadth of insight, and degree of stylistic legerdemain to rival such staggering achievements as William H. Gass’s The Tunnel, Carlos Fuentes’s Terra Nostra, Robert Coover’s The Public Burning, or Péter Nádas’s Parallel Lives, In Partial Disgrace may be the last great work to issue from the generation that changed American letters in the ’60s and ’70s.

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A dizzying look at the backrooms of literature, with petty squabbles, long-nurtured grudges, envied or undeserved prizes, failing publishers, and self-important critics, "The No Variations" is a serious game, or perhaps a frivolous tragedy.

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One of the defining texts of twentieth-century Catalan fiction, written by one of its most innovative and cherished writers, Salvador Espriu's "Ariadne in the Grotesque Labyrinth" is a collection of thirty-four short stories in which the twists and turns of action, character, and place are as winding and sumptuous as the legendary maze of its title. Originally published in 1935 in the midst of great countrywide political and social upheaval, these stories are a mirror, a grotesque mirror, held up to Catalan and Spanish society. Infused with a deep sense of mythic power, blending social realism with lush modernist experiment, " Ariadne in the Grotesque Labyrinth" is a triumph of style. Perhaps best known for his poetry, Espriu's rich lyricism and highly evocative use of the Catalan language are here brought to life in the poet Rowan Ricardo Phillips's remarkable English-language translation of a classic of world literature.

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The Marquis de Sade is alive and well and living in Sweden—or perhaps author Nikanor Teratologen is the devil himself, sending the English-speaking world a Scandinavian squib to remind readers that such reassuring figures as vampires and serial killers are no more frightening than pixies or unicorns in light of the depravity contained in one quiet suburb. Reading like a deranged hybrid of Deliverance, Naked Lunch, and Tuesdays with Morrie, and rivaling The 120 Days of Sodom in its challenge to our assumptions as to what is acceptable (or not) in literature, Assisted Living presents us with a series of queasy anecdotes concerning an eleven-year-old boy and his grandfather, a monster for whom murder, violence, incest, drunkenness, and philosophy all pass as equally valid ways to spend one’s time. Whether it’s a study in excess, a parody of provincial proto-fascism, a clear-eyed look at evil, or simply a prodigious literary dare, Assisted Living is unlikely to leave you indifferent.

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The passions, frustrations, fleeting affairs, and failed relationships of an Argentinian writer in New York.

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Benjamin Thompson, Count Rumford, was—as Nicholas Delbanco writes—“world famous in his lifetime,” yet now he has been “almost wholly forgotten.” Like Delbanco himself, Sally Ormsby Thompson Robinson—the narrator of this novel and the Count’s fictional, last-surviving relative—is “haunted” by one of history’s most fascinating and remarkable figures. On par with Thomas Jefferson and Benjamin Franklin, Count Rumford was, among many other things, a politician, a spy, a philanthropist, and above all, a scientist. Based on countless historical documents, including letters and essays by Thompson himself, The Count of Concord brings to life the remarkable career of Benjamin Thompson, Count Rumford.

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A modern-day Don Quixote and an exile in his own hometown, the protagonist of Teeth Under the Sun is kept from writing by a conspiracy (real? imagined?) designed to prevent him from revealing the truth about the town's strange status quo and violent past.In a place where people have abandoned their houses for tiny apartments in the confines of new high-rises, the narrator walks the almost empty streets, remembering better times and meeting figures from his past: his ex-wife, his son, writers, friends, and revolutionaries. And all of this is interspersed with his memories of the movies Fact and fiction, past and present, all meet in this story of the narrator's attempts to engage more fully with a modern world forcing him into isolation.

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In the tradition of Flann O'Brien's At Swim-Two-Birds, Gilbert Sorrentino's Mulligan Stew, and Raymond Queneau's The Flight of Icarus, Robert Pinget's Mahu or The Material tells the story of Mahu, a lazy man who may be a character in his friend Latirail's failing novel, which is taken over by characters invented by Sinture, yet another writer. The latter half of the novel consists of Mahu's strange and hilarious musings on everything from belly dancers to how he catches ideas from other people in the same way he catches germs. Mahu is Pinget's funniest novel, featuring a mix of dark humor and manic word-games, and is as inventive and energetic now as when it was first published.

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Opening with a quote from Richard Brautigan--"I've been examining half-scraps of my childhood. They are pieces of distant life that have no form or meaning"--Scenes from a Receding Past constructs the adolescence and early adulthood of Dan Ruttle out of a variety of scenes and reminiscences about his life in Ireland, his time in a Catholic school, his first sexual experiences, and his brother's mental breakdown. The second half of the book centers around his relationship with his future wife Olivia, her past, and her former lovers. Calling to mind Joyce's Portrait of an Artist as a Young Man for Dan Ruttle's love-hate relationship with Ireland and the stylistic innovations employed by Higgins, Scenes from a Receding Past is a masterpiece from one of Ireland's greatest contemporary writers.

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The hiring of a new secretary shouldn't be a big deal--just a slight a change in the office environment. But for the protagonist of this novel, it is a declaration of war, a call to arms: "The new secretary has only been here two days," she says, "and I'm already talking about evil, a word I shouldn't even be using--arming myself for battle and choosing my weapons." Her quiet life of sacrifice and service has been rudely disrupted by the new hire, and she is not--despite the advice of her doctor, her neighbors, and her daughter--about to leave it at that. Instead, sabotage, alcohol, and kindness become the arsenal in a conflict fought across copy rooms and office parties. But the humor is undercut by a sadness, a sense of defeat that makes this slim novel resonate with the injustice of our increasingly impersonal, corporate world.

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Joseph Dewey, "Rick Moody" Brian Evenson & Joanna Howard, "Ann Quin" Zachary Hammerman, Ed., "Casebook Study of Silas Flannery"

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Martereau is narrated by a tubercular young man driven by a compulsion to discover what lies behind faades, especially in relation to the adults around him. He's particularly interested in Martereau, his uncle's devoted friend and business associate. All in all, Martereau seems like a trustworthy, benign, self-sufficient man, but under the narrator's intense scrutiny--and Martereau's suspect behavior concerning a shady real-estate deal--his motives seem much more complex and seedy. In a subtle, skillful way, Nathalie Sarraute explores the difference between those who are wealthy and those who pretend to be so, and the manipulative way in which some people get ahead in the world.

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

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David Andrews, Gilbert Sorrentino David Andrews, The Art Is the Act of Smashing the Mirror: A Conversation with Gilbert Sorrentino John Beer, Robert L. McLaughlin, Mary CaponegroWilliam Gaddis Joy Castro, Margery Latimer

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A seeing-eye dog leads a blind man into a frozen river, a southern Baptist loses his memory and finds true love in Bel Air, an obese dot.com executive has "anorgasmic" latex sex with her CEO, and a homeless man in New York creates an intellectual universe based on Post-it notes stuck to the inside of his cardboard box shelter--Douglas Glover's stories are wildly inventive, deadpan comedies of our universal human catastrophe. They are sly, demanding and wise--stories about language, desire and love (in a very dark place). The humor veers from the wry and sardonic to the salacious, mordant and playful. And always there are moments of such stark emotional intimacy that the reader slides, almost without noticing, from laughter to lament.

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For nearly 20 years, the Review of Contemporary Fiction has celebrated and promoted the study of innovative fiction by featuring some of the most influential authors of the twentieth century.Recently the Review changed its format, and instead of several essays on the work of one or two authors the Review now features three or four authors with one long essay apiece devoted to the discussion of their writing careers.Still providing both an introduction to experimental fiction writers and interpretive strategies for reading their work, this new format allows for the inclusion of younger writers and those whose work has not been widely studied.Occasionally, the Review will feature special issues devoted to new fiction from around the world or to essays and fiction by important novelists and critics.

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The three novellas collected in Van Gogh's Room at Arles demonstrate once again Stanley Elkin's mastery of the English language, with exuberant rants on almost every page, unexpected plot twists, and jokes that leave readers torn between laughter and tears. Her Sense of Timing relates a destructive day in the life of a wheelchair-bound professor who is abandoned by his wife at the worst possible time, leaving him to preside -- helplessly -- over a party for his students that careens out of control. The second story in this collection tells of an unsuspecting commoner catapulted into royalty when she catches the wandering eye of Prince Larry of Wales. And in the title story, a community college professor searches for his scholarly identity in a land of academic giants while staying in Van Gogh's famous room at Arles and avoiding run-ins with the Club of the Portraits of the Descendants of the People Painted by Vincent Van Gogh.

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Surrounded by cemeteries in the flatlands of New Jersey, the small town of Lud is sustained by the business of death. In fact, with no synagogue and no congregation, Rabbi Jerry Goldkorn has only one true responsibility: to preside over burial services for Jews who pass away in the surrounding cities. But after the Arctic misadventures that led him to Lud, he wouldn't want to live (or die) anywhere else.As the only living child in Lud, his daughter Connie has a different opinion of this grisly city, and she will do anything to get away from it--or at least liven it up a bit. Things get lively indeed when Connie testifies to meeting the Virgin Mary for a late-night romp through the local graveyards.

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Farley, a seventy-five year old man, lies on his bathroom floor, having just suffered a stroke. As his mind sifts through his past, we are introduced to the loyal friend he once was, his loving wife, the city of Dublin, and the question of how this very ordinary man has become so lonely at the end of his life. Told in reverse, from Farley's penultimate day to decades before, Christine Dwyer Hickey's bestseller is a jarring look at a life up close. First published in 2011, The Cold Eye of Heaven shows Dwyer Hickey's lyrical prose at its best: rendering sorrow, joy, wisdom, and humor in equal measure. Acutely insightful, this is an eerily accurate portrait of what it's like to grow old.

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These novels face head-on the reality of the American Indian, perhaps the last great taboo in American culture. After all of the flag-waving, the wars to protect the Land of the Free, and interventions around the world in the name of democracy, how do Americans admit, even today, that America was not discovered by Columbus and not courageously cultivated by white Anglo-Saxons? The land was invaded and a people destroyed, all in the name of religion, political freedom, and money.Long before Cormac McCarthy and even long before Tom Robbins, William Eastlake invented an American Southwest whose comic and tragic dimensions, as well as its hard beauty, encapsulates American myths and nightmares in much the way that Faulkner did with his invented Yoknapatawpha County. Against a background of New Mexico that transcends regional space, Eastlake explores race, greed, and tradition, evoking stereotypes for the sake of exploding them and laying bare an American reality that is a strange mix of pop culture, zany humor, biting satire, and a deep-seated respect for and love of the land.

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"Natalie Natalia"?is Nicholas Mosley's brilliant examination of political life. It revolves around Anthony Greville, a conservative Member of Parliament who is tormented by his ambivalence toward his career, by his religious doubts, and by his adulterous affair with Natalia Jones, the enigmatic wife of a colleague.The course of their affair dramatizes love in its most creative and perilously destructive aspects, the two facets symbolized in the two names he has for his lover: "I sometimes called Natalia Natalie instead of Natalia," Greville says, "when she was the ravenous rather than the angelic angel... What Natalie said was often a code for what Natalia was meaning." Ranging in setting from England to Central Africa, the novel is a remarkable investigation of ethics, with fiction itself as an ethical activity.

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From "Putting Things Away" to "The Marriage Almanac" (not to mention the pedantic "Index," in itself a comic wonder), Stanley Crawford gives the married, the unmarried, and the formerly married a classic satire on all the sanctimonious marriage manuals ever produced. Starting with the complete title, "Some Instructions to My Wife Concerning the Upkeep of the House and Marriage, and to My Son and Daughter Concerning the Conduct of Their Childhood," a boorish narrator sets down some seventy-three pieces of advice to his wife, young son, and two-year-old daughter, intended to foster and maintain domestic tranquility in an age of anxiety. Taken literally, our neo-Victorian head of the house is a male chauvinist pig of sorts, but what reader would deny that the sources of Crawford's satire run deep in the American grain?

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This novel is one of the most ambitious and remarkable literary achievements of our time. It is a picaresque, psychological novel—a novel of the road, a journey or voyage of the human spirit in its search for reality in a world of illusion and nightmare. It is an epic of what might be called the Arabian Nights of American life. Marguerite Young’s method is poetic, imagistic, incantatory; in prose of extraordinary richness she tests the nature of her characters—and the nature of reality. Miss MacIntosh, My Darling is written with oceanic music moving at many levels of consciousness and perception; but the toughly fibred realistic fabric is always there, in the happenings of the narrative, the humor, the precise details, the definitions of the characters. Miss MacIntosh herself, who hails from What Cheer, Iowa, and seems downright and normal, with an incorruptible sense of humor and the desire to put an end to phantoms; Catherine Cartwheel, the opium lady, a recluse who is shut away in a great New England seaside house and entertains imaginary guests; Mr. Spitzer, the lawyer, musical composer and mystical space traveler, a gentle man, wholly unsure of himself and of reality; his twin brother Peron, the gay and raffish gambler and virtuoso in the world of sports; Cousin Hannah, the horsewoman, balloonist, mountain-climber and militant Boston feminist, known as Al Hamad through all the seraglios of the East; Titus Bonebreaker of Chicago, wild man of God dreaming of a heavenly crown; the very efficient Christian hangman, Mr. Weed of the Wabash River Valley; a featherweight champion who meets his equal in a graveyard—these are a few who live with phantasmagorical vividness in the pages of Miss MacIntosh, My Darling. The novel touches on many aspects of life—drug addiction, woman’s suffrage, murder, suicide, pregnancy both real and imaginary, schizophrenia, many strange loves, the psychology of gambling, perfectionism; but the profusion of this huge book serves always to intensify the force of the central question: “What shall we do when, fleeing from illusion, we are confronted by illusion?” What is real, what is dream? Is the calendar of the human heart the same as that kept by the earth? Is it possible that one may live a secondary life of which one does not know? In every aspect, Miss MacIntosh, My Darling stands by itself—in the lyric beauty of its prose, its imaginative vitality and cumulative emotional power. It is the work of a writer of genius.

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Emilia, a pensioner in northern Romania, is forced to confront the nostalgic illusions she nurtures as a reaction to the grim post-communist present when her daughter, now living in Canada, telephones urging her not to vote for the former communists in upcoming elections. Determined to discover in her own mind why `things were better back then,’ she explores her memories of growing up in an impoverished village and of her life as a factory worker in the town. But ironic tension grows as the reader glimpses between the lines how nothing was what it seemed in Ceaușescu’s Romania. Interspersed among Emilia’s memories are fantastical, hilarious anecdotes about the dictator, told by a factory foreman who will turn out to have been a secret police informer. I’m an Old Commie! is a subtle and humane novel about self-deception, but also about the ways in which a totalitarian state twisted ordinary lives.

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The narrator of Volatile Texts: Us Two falls in love with Pierre, the book’s secret protagonist. During their trysts she rediscovers Switzerland, a place where every valley has its own language and every person is translated. It’s a perfect microcosm of Europe-a collection of accents, languages, and landscapes. Volatile Texts is Zsuzsanna Gahse’s ironic and prescient meditation on a Europe that is disintegrating in the same way that the Alps disintegrate into individual lakes and valleys. Yet language itself is the true subject of these prose miniatures, which are volatile and unstable because they expose language as an arbitrary construct made of interchangeable parts; however, this is also what makes the book such an exciting read.

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