Search results for ""dalkey archive press""

An occasionally terrifying and always vivid portrayal of what it was like to live as a refugee immediately after the end of the Korean War.

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Boris Pahor spent the last fourteen months of World War II as a prisoner and medic in the Nazi camps at Belsen, Harzungen, Dachau, and Natzweiler. His fellow prisoners comprised a veritable microcosm of Europe Italians, French, Russians, Dutch, Poles, Germans. Twenty years later, when he visits a camp in the Vosges Mountains that has been preserved as a historical monument, images of his experiences come back to him: corpses being carried to the ovens; emaciated prisoners in wooden clogs and ragged, zebra-striped uniforms, struggling up the steps of a quarry or standing at roll call in the cold rain; the infirmary, reeking of dysentery and death. Necropolis is Pahor s stirring account of his attempts to provide medical aid to prisoners in the face of the utter brutality of the camps and of his coming to terms with the ineradicable guilt he feels, having survived when millions did not.

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Dust tells the story of a librarian terrified by the decay of the world around him. With the help of his wife, the librarian wages a futile war against the dust that coats his surroundings until one day Adrian Bravi, or a character very much like the author, arrives on the scene attesting to the very same fears of decay and decline. Drawing on the tradition of magical realism, this novel delves deeply into the nature and meaning of obsession.

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It could be in Chernobyl, in Chicago, or in the future; it could be “the Brooklyn Vampire” Albert Fish penning a letter to a grieving mother or “the Yorkshire Ripper” Peter Sutcliffe being described by his paranoid schizophrenic wife; it could be the birth of a child turned literally inside out in a world “more wolf than lion, more hyena than either”; and it could be you, dear reader, “not a person, but a doubt contemptuous of stone and silence and time itself.” In The Circus of Trust, Mark Tardi implicates us all in a pastoral of detritus where “the same indifferent sun” unflinchingly tracks devastation as part of the most routine actions. Whether the violence is architectural, biological, geological, or technological, we’re warned that atrocity is the most resilient form of human currency: “You don’t have to step on a body to carry death on your shoes.”

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Naoto Matsubara works in a Tokyo publishing house, though the work doesn’t particularly interest him. What does interest him, we soon discover, is the purpose of life. Naoto ponders the powers of love, attachment, and mutual care by examining closely his own friends and lovers, searching out how exactly his connection to them confers meaning on his life. Along the way, Naoto also draws on the thought of many writers and philosophers, including Tolstoy, Fromm, and Mishima.

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Set in the aftermath of the “Carnation Revolution” of April 25, 1974, Antonio Lobo Antunes’s Warning to the Crocodiles is a fragmented narrative of the violent tensions resulting from major political changes in Portugal. Told through the memories of four women who spend their days fashioning homemade explosives and participating in the kidnap and torture of communists, the novel details the clandestine activities of an extreme right-wing Salazarist faction resisting the country’s new embrace of democracy. Warning to the Crocodiles (Exortação aos Crocodilos) has won:- Best Novel by the Portuguese Writers Association (Grande Prémio de Romance e Novela da Associação Portuguesa de Escritores) (1999)- The D. Dinis Prize of the Casa de Mateus Foundation (Prémio D. Dinis da Fundação Casa de Mateus) (1999)- The Austrian State Literature Prize (Prémio de Literatura Europeia do Estado Austríaco) (2000)

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The ugly side of superheroesWhat if you suddenly had superpowers? What would you do? How would your friends and family react? What would your obligations to society be?The superheroes’ first missions— combating terrorists or rescuing disaster victims— are a boon to France. Yet while these actions bring the country pride, unity quickly starts to unravel. These superheroes, ultimately, are human. Paparazzi are everywhere. One has an affair with another’s wife. Another questions following the government’s imperialist agenda. Meanwhile the public carps on social media. Molia takes our fascination with superheroes and adds a cutting portrayal of contemporary social mores to create an entertaining and disturbing work with deep dystopian underpinnings.

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Small Pieces is a collaboration between novelist Micheline Aharonian Marcom and writer and visual artist Fowzia Karimi, pairing Marcom’s short stories—miniatures as Marcom calls them—with Karimi's watercolors. The work is a conversation between two artists in text and image, side by side.

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Originally published in 1968, The Secret Crypt is something of a cult classic in Mexican literature. Elizondo’s impassioned, breathless prose launches the reader into a labyrinth that is also a hall of mirrors. Here, we find a small group of characters who are part of an underground sect called Urkreis, one of whose aims is to discover the identity of the sect’s founder, known only as “the Imagined.” The identities of narrator, author, and characters blur into one another as the narrative moves between the two worlds of the novel and the author writing the novel—an unclassifiable masterpiece containing initiation rites, sacrificial murder, conspiracy, and delirium.

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"Tanguy Viel's parody/pastiche of the American novel is subtle and experimental; it tells a story at the same time as it implicitly poses questions about the narrative structure it is deploying." —The French Review In The Disappearance of Jim Sullivan, disappearance is both a theme and a stylistic device. Indeed, this publication narrates the disappearance of Dwayne Koster, who, fascinated by the story of Jim Sullivan, commits suicide in the New Mexico desert which was the setting of the rocker’s disappearance in 1975. But this novel is for the most part set in the metanarrative tale of its own genesis, and, as a result, is partially eclipsed: its -fictitious- author doesn’t relate it in its entirety and keeps adding bits and pieces of first drafts and preliminary sketches to his text, thus blurring its boundaries. Tanguy Viel’s work can therefore be perceived as a double response, existential and aesthetic, to the question of the end.

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The Squatters' Gift is a poetic travelogue through numerous languages and locales, both real and imaginary. Like Miron Białoszewski, Paul Celan and Tristan Tzara before him, Rybicki excavates syllable and song, mind and muck, to invent a transnational poetry pointedly unapologetic and utterly unique. Karol Maliszewski observes that Rybicki has taken over from the Surrealists and the Dadaists: “the hero of these poems is language –– escaping from a man and suddenly returning in flashes and dazzles." The opening lines of The Squatters’ Gift, is reminiscent of a sort of vagabond Jack Gladney from Don DeLillo’s acclaimed White Noise, wandering the supermarket aisles in a consumerist haze: “The supermarket / melts / like a chocolate bar: / a dendrite stack.” But the comparison is short-lived and far too simplistic. It is only tenable if the comforts of ritualized shopping are multi-lingual and multi-dimensional, Greek mythology intersecting with 1980s Polish punk music, poetic string theory and time travel and psychedelic dumpster diving all rolled into one. It is this wanderlust and these sorts of imaginative leaps that animate much of The Squatters’ Gift and make it so incredible.

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In her audacious debut To Feed the Stone, Bronka Nowicka offers writing that is both timeless and timely. Using the language of folk narrative, like Italo Calvino, Russell Edson and Jan Svankmajer before her, Nowicka’s prose poems take us through the stark and disorienting world of a child––a world that excavates the border of appearances in a constant search for the essence of connection. The poet reconfigures the dynamics between people and objects, cause and effect, the body and the outside world, and the tenuous boundaries between death and life. As Nowicka’s child-narrator poignantly observes after discovering the body of a dead family member: “Her head was hanging over the armrest, her mouth open wide as if, with her whole body, she was taking the last photo of this world.” An ant ground between fingers smells of vinegar. A butterfly has powder, a mole has a tailcoat. You can roll filth down your skin. Old people smell like borsch. You have butter behind your fingernails where splinters can get in. There are hunch-backed people and crazy people but not dogs or birds. Sucking on the salty knee, the child knows: the only thing that separates you from the world is the skin. Thanks to skin, you’re not swallowed up by the vastness of things. Excerpt of “Tights” from To Feed the Stone

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In Pisa, Italy, an Armenian immigrant named Marco Iprannossian sits in jail awaiting judgment on the attempted murder of a local official.The novel opens on the first day of his hearing—three years after his arrest—and follows the lives of Marco, his friends on the outside, the judge presiding over this case, her husband, and their teenage daughter, Lea. Through deceptively structured as a crime novel, Quarry's real concerns are both far smaller and far larger than those of a typical whodunit.Houdart's modern tale, presented in a series of brief, elliptical snapshots, is a precision-cut gem of literary minimalism.

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Gustave Termi is sitting on the toilet in Geneva one day when the Archangel Michael calls him to become one of the elect. No one could be more bewildered by this call than the agnostic Gustave. An encounter with a journalist in a therapist’s waiting room, however, leads this bumbling middle-aged professor to read of the similarly inexplicable mystical calling of Stefanie von Rothenberg, a cultured Austrian whose relationship with the daemonic is only a little less strange than her relationship with Adolf Hitler. The Adorations is a novel about Europe’s true holy trinity—politics, faith, and insanity—narrated with effortless erudition by Roger Boylan, whose Nabokovian knack for sentence-making knows no equal.

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At the center of this novel is the story of a daughter looking after her mother, who’s been admitted to a nursing home after a stroke landed her in the hospital. All her mother wants is pain medicine and to go home. This delicate situation serves as a jumping-off point for Rudan to wander freely through memories of her parents, her husband, friends, and a daughter of her own. Out of these elements, Rudan weaves together an unsentimental, unflinching story about the difficult love that exists between parents and children, the inability of people ever to say the right thing, the grotesque—yet universal—process of growing old, and the perverse mysteries of love and death.

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The twenty-first century doesn’t much care for subtlety. Now is the era of the gist, the elevator pitch, the big idea boiled down. This is precisely why Christopher Woodall’s fiction gives such pleasure. His meticulous stories about love, death, fidelity, friendship, and human solitude do not wave their narrative arms wildly, demanding unwarranted attention. They speak in a calm voice, inviting the reader closer—inviting him not merely to react but to feel and think. Sweets and Toxins is the first collection of short fiction to be published by this talented novelist and it marks him as a writer whose sharp eye for detail and feeling for people is a rare commodity indeed. He is one of the major English authors writing today.

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In the hospital, being treated for cervical cancer, Mia meditates on her life, her ex-girlfriend, and the state of her sanity. This heartbreaking autobiographical novel dramatizes the brutality of disease and its effects on both mind and body. Ultimately, Let Me Sleep Until It Is Just a Dream is an examination-as Kjersti Annesdatter Skomsvold writes-of what a person is when “all she has left is language.” Stifoss-Hanssen’s debut is a powerful piece of work, whose images and insights will remain in the mind for a long time.

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Caring for Japanese Art at the Chester Beatty Library is a memoir of Yoshiko Ushioda , looking back at more than five decades of life in Dublin. The story begins in 1960, when she traveled from Tokyo with her young son to join her husband, a research-fellow at University College Dublin. Beginning as a volunteer at the Chester Beatty Library in 1970, she would go on to become curator and accompany masterpieces loaned by The Chester Beatty Library to special exhibitions all around the world. Both inspiring and heartfelt, Mrs. Ushioda’s memoir will be of interest to both lovers of Japanese Art and those interested in Irish-Japanese relations.

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When Albert Jackson, a middle-aged school teacher, catches a glimpse of the infinite universe and his own tiny insignificance he cannot shake himself free of regret for a life all but squandered. In a blind and demented attempt to salvage something from his life, he sets off, half-lucidly, on a libertine mission to reclaim life, to live it exclusively on his terms. But the wild and sinister crime he plots, so characterised by delusion, sets him on a path to irreversible destruction. Incarcerated after his crime, at the once prestigious Reil Institute, and in a bid to make spiritual and cosmic amends, Albert Jackson employs the guile of a local novelist, Charlie Vaughan, to tell his story. In the telling of Albert’s story, Charlie drives the narrative onward and backward, forcing Albert to confront the horrors of his crime. When the inadequacy of Albert’s initial confession forces Charlie to search further afield, he must cede control of the narrative to a range of other narrators too, among them key witnesses to the events leading up to Albert’s crime and a strange third-person account composed by Albert himself. Slipping is a darkly humorous novel about life and love, ambition, bitter disappointment and the cost of committing the unforgivable.

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A sideways view of "coming of age," "Rapids" is the story of a young man who moves to a strange city and finds himself lost in its warren of streets and squares. He is looking for his own identity--personal, political, sexual. A series of encounters culminates with his meeting Anja: a strong, older woman, stuck in a relationship with another man she cannot bring herself to leave. Anja proves to be an anchor for the young man, but their relationship must remain a secret--and when that secret finally comes to light, their troubles are just beginning.

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""I can assure you that no movie will ever achieve the speed of prose. Human beings just haven't realized that yet.""--J?rg Laederach. With tongue resolutely in cheek, saxophonist, critic, poet, and one-time enfant terrible of Swiss literature J?rg Laederach here pursues the ambition of forcing all of human existence into a single novel. "The Whole of Life" tells the story of a man, Robert "Bob" Hecht, in three sections: "Job," about work and looking for work; "Wife," about sex during a bout of impotence; and "Totems and Taboos," in which Bob himself ruminates on the limitlessness of human limitation. In "Life," space is compressed to the suffocating dimensions of a single mind, while single moments are expanded cubistically into entire landscapes. Bodies are vivisected and reassembled, and language is invaded, exploded, and reassembled. "The Whole of Life" sees Laederach composing a novel by taking it apart as he goes.

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German Sadulaev's follow-up to his acclaimed "I am a Chechen! "is set in a twenty-first century Russia, phantasmagorical and violent. A bitingly funny twenty-first century satire, "The Maya Pill" is strange, savage, bizarre, and uproarious.

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On the eve of a coup d'etat, the wife of a diplomat newly returned to Turkey from the United States finds that the new Minister of Foreign Affairs, Fuat, is in fact a childhood friend. Having married more for status than love, and quizzically unmoored from the reality of day-to-day existence in the capital, she begins to nurse an impossible love for her husband's superior, and in the process of telling us of her Bovary-like, novelistic infatuation, she confesses innumerable details of her life: her tomboyish school years, her independence and ambitions as a young woman, her surprise at her own willingness to set aside her aspirations to enter the comfortable world represented by her husband. Set against the backdrop of the great cultural changes occurring in Turkey during the 1960s, "Music by My Bedside" is a compelling and often playful journey through one woman's off-kilter view of herself, the world, and the conventions by which she is constrained.

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A meditation on the themes of separation and silence, The Summer of the Elder Tree was Marie Chaix's first book to appear in fourteen years, and deals with the reasons for her withdrawal from writing, as well as the events in her life since the death of her mother (as detailed in Silences, or a Woman's Life). With uncompromising sincerity, and in the same beautiful prose for which she is renowned, Marie Chaix here takes stock of her life as a woman and writer, as well as the crises that caused her to give up her work. The Summer of the Elder Tree has its roots in Chaix's previous books while standing alone as a work of immense power: a new beginning

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American Odysseys is an anthology of twenty-two novelists, poets, and short-story writers drawn from the shortlist for the 2011 Vilcek Prize for Creative Promise in Literature. Including Ethiopian-born Dinaw Mengestu, the recipient of the Prize; Yugoslavian-born Téa Obreht, the youngest author to receive the Orange Prize in Fiction; and Chinese-born Yiyun Li, a MacArthur Genius grantee, what these authors all have in common—and share with US Poet Laureate Charles Simic, who has contributed a foreword—is that they are immigrants to the United States, now excelling in their fields and dictating the terms by which future American writing will be judged by the world. Running the gamut from desperate realism to whimsical fantasy—from Miho Nonaka’s poetry, inspired by fourteenth-century Noh theater, to Ismet Prcic’s wrenching stories set in the aftermath of the Bosnian war—American Odysseys is proof, if any be needed, that the heterogeneity of American society is its greatest asset.

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

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A hidden classic of Brazilian literature, "P's Three Women" is a bonbon laced with slow-acting poison--but delicious nonetheless.

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Susan Sontag writes: "Of the novelists I have discovered in translation... the three for whom I have the greatest admiration are Gabriel Garc?a M?rquez, Peter Handke, and Yoram Kaniuk."

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Centered on an elderly retiree and his intellectual adversary, the shrewd Inspector Lebeda, "Case Closed" is filled with all the expected elements of a thriller--murder, rape, suicide!--but soon reveals itself as a wily and sophisticated parable about the dangers of language itself, in which the author takes aim at human nature with a devastating arsenal of genre-mixing, wordplay, and whimsical, biting satire.

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A pioneering French woman turns her eye toward the most classically male American genre.

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A dazzling literary card game: an investigation into how and why we fall into or out of love--with a person or a book.

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In addition to 'The Glass Slipper', this collection contains eight other stories held together by a common thread of self-perception: that the self has such depths that at times it can appear to be illusory.

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The Presentable Art of Reading Absence takes as impulse the act of meditation, in which the energetic relationship between a meditative body and its universe is not only the envisioning of absence by presence but also vision itself: “Here begins the revelation of a kiosk.” With occult emotionality and analytic brilliance, Jay Wright has written the user’s guide to evanescence: “I have become attuned / to the disappearance of all things / and of my self . . .”

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Humour abounds in this memoir which reads like an expose of the power structures in America's higher education system: Whose got it, how they're abusing it, what everyone else is willing to do to get it and the social cost of doing educational business this way."

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"An innovative collection of short stories that overturns expectations and surprises the reader, full of sarcasm, humor, and anguish, with a sob that escapes at the end after all, that's what life is like." Ethnos

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"Marriage kills love. That's why people get married." The unmarried and unemployed narrator of A Fool's Paradise is seeing a married man and must, because of her social security, apply and interview for jobs she does not want. Her life is founded on unsustainable contradictions. As her lover considers recommitting to his wife and as her poverty becomes increasingly dire, she confronts the temptations and contradictions of conventional success, but she is also overcome by jealousy and dissatisfaction. She travels to Russia and spies on her lover's wife. She takes a job that she hates. This precise and intensely personal novel describes the narrator's growing sense that freedom becomes, itself, a kind of routine, and shows her burgeoning desire to break out of it.

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When French mafioso Oscar Lux saved Clovis Baccara from killing himself, he became the boss and something of a mentor to Clovis. Twenty years later, it is no surprise that Clovis is named best man when Oscar decides to settle down and get out of the business. Fulfilling his role as second-hand man, Clovis is entrusted with the job of guarding Oscar’s new bride when Oscar is taken into police custody for embezzlement and racketeering on the day after his wedding. Alone on his boss’s honeymoon in Los Angeles with Oscar’s incredibly attractive new wife, Clovis tries his hardest to adhere to the one rule he has given himself, the rule which gets harder to heed as each moment passes: do not touch.

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Ordered by two mysterious men to write a statement of about 100 pages, the narrator of Chinese Letter--who's not sure of his name, but calls himself Fritz--faithfully records the bizarre occurrences of his daily life: his absurd conversations with his mother who is abducted by slave traders, his visits to his friend who works in the hospital's autopsy room, and his sister's tumultuous marriage to the butcher's son, to name a few. Widely respected in Serbia, the term "Basarian" has been coined to refer to his unique writing style, reminiscent of the best of Samuel Beckett for its directness, existential pondering, and odd sense of humor.

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At the City Hall in a small town in the South of France, one man starts his campaign to correct the ills that have overtaken his proud nation by lecuring the town's inhabitants on the art of conversation. In the narrator's opinion, "coversation is a specialty that is most eminently French," an art that should be nurtured and practiced, and can help repair France's reputation. Not to mention being a good conversationalist is extremely useful for seducing women, which is how the narrator managed to attract Lucienne, his "superbly lumpish" wife who died two months before giving this lecture. One of the oddest characters in contemporary fiction, the lecturer in this novel can't help but digress about his sad life in the midst of his speech, giving the reader a view of a self-centered man trying to turn one of his greatest faults into a virtue to be forced on everyone else. By turns ironic, hilarious, pathetic, and mortifying, Salvayre's The Lecture is an exuberant example of the exciting fiction being written in France.

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In the second book of Arno Camenisch's Alp trilogy, "Behind the Station," is told through the eyes of two young brothers growing up in a small, secluded village in a valley flanked by the alpine mountains. Written in the same style as "The Alp," we start to believe that there's little difference between the children and the adults in this village, save for their love for mischief and ghost stories. The grandmother, the parents, and the neighbors: it is an amphitheater full of drama, somehow colored through the eyes of children. Arno Camenisch's quiet control and powerful descriptions of village life prove that he is an international voice to follow.

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Jason is a scriptwriter working on a film about Masada--the fortress where a thousand Jews killed themselves rather than be taken prisoner by the Romans in A. D. 73. He doubts that a film both honest and popular on such a subject can be made, and, while en route to the production site (Jason, producers and stars in first class--his wife and child in tourist), a dispute about the film and a crisis aboard the plane forces Jason to look at his life, his art, and the world around him in several different ways at once.

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In an unnamed country, the President of the Republican Council, wanting to "do something big," strikes upon the idea of building a 1,500-meter high mountain as an inspirational monument to national greatness. Construction of the mountain will reduce unemployment, attract hordes of tourists, and the idea can even be exported for sale to other countries. Mountain R relates the rise and fall of this insane project through the eyes of those involved over several decades: the President whose double-talk sets the plan in motion, a worker who, years later, tells his daughter about the disastrous consequences of the never-completed mountain, and an author commissioned to write a novel about the project. An incisive satire about the dangers of half-witted government officials who use political rhetoric to manipulate the patriotism of their constituents, Mountain R is a humorous yet disturbing allegory quite appropriate to our times.

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In his recent novels--including his award-winning Hopeful Monsters--Nicholas Mosley has investigated the patterns that govern our mental and emotional lives and the possibilities that we have for change, and nowhere has he explored such themes with greater concentration than in Catastrophe Practice. A unique book whose characters and concerns are the basis for the other four novels of the Catastrophe Practice Series - Hopeful Monsters, Imago Bird, Judith, and Serpent-- Catastrophe Practice is remarkable both in its form (three plays with prefaces and a novella) and in its ability to convey the complexities of thought. Drawing upon catastrophe theory to examine the discontinuities in human personality and our tendency to progress suddenly rather than smoothly, the six characters of Catastrophe Practice struggle to disrupt traditional ways of being. These characters (and the author) feel that conventional ways of interpreting the world have become destructive--conventional language, conventional feelings, conventional situations--and try to find a way to realize genuine experience.

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This collection of stories brings together some of the most interesting and innovative American fiction writers since the 1930s. With an introduction by the editor, Innovations concludes with an extensive list of novels that belong to the real "great tradition" for further reading.

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This volume brings together two of Paul West's best books: his critically acclaimed "Words for a Deaf Daughter" (1970), a nonfiction account of West's deaf and brain-damaged daughter Mandy at age eight, and "Gala" (1976), a novel about a writer named Wight Deulius who brings his handicapped teenage daughter Michaela from England to America for a visit. While Words is an account of Mandy's diagnosis and treatment, Gala is "the scenario of a wish-fulfillment" (as West writes in the preface), a continuation of the father and daughter's joyful investigation of the richness of life and its amazing possibilities. Ranging across natural history and astronomy in his effort to understand his daughter's handicap, West finds in Mandy/Michaela an irrepressible and unpredictable guide to the mysteries of the universe. Brought together in the same volume, the books also allow a unique look at how nonfiction and fiction techniques can be used to the same ends in the hands of a master of prose.

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In this collection of two novellas and seven short stories, Alf MacLochlainn comically reduces life’s problems to the minute details of everyday existence. Socks, shoes, and trousers suggest perplexing difficulties: how best to put them on, the intricacies involved in keeping them on, the physical (as well as psychological) laws related to the interaction of body and clothing. All such speculations come to an absurd, crashing halt as the contemporary mind, filled with an overload of information, attempts but fails to make sense of some of the simplest, though of course complex, mundane facts of daily life. From Dublin to Central Illinois to Outer Space, MacLochlainn’s stories embody the imaginative spirit of Samuel Beckett and Flann O’Brien.

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Wittgenstein's Mistress is a novel unlike anything David Markson or anyone else has ever written before. It is the story of a woman who is convinced and, astonishingly, will ultimately convince the reader as well that she is the only person left on earth. Presumably she is mad. And yet so appealing is her character, and so witty and seductive her narrative voice, that we will follow her hypnotically as she unloads the intellectual baggage of a lifetime in a series of irreverent meditations on everything and everybody from Brahms to sex to Heidegger to Helen of Troy. And as she contemplates aspects of the troubled past which have brought her to her present state—obviously a metaphor for ultimate loneliness—so too will her drama become one of the few certifiably original fictions of our time. “The novel I liked best this year,” said the Washington Times upon the book’s publication; “one dizzying, delightful, funny passage after another . . . Wittgenstein’s Mistress gives proof positive that the experimental novel can produce high, pure works of imagination.”

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The existence of an afterlife is now a fact: heaven is the internet. Death is only an interruption as souls can be uploaded to the web and new bodies can be purchased by those wishing to reenter the physical world. The need to settle an old score pushes Ramiro Olivaires to move from the comfort of virtual existence back into a human body. Ramiro’s grandson, however, can only afford the body of an overweight middle-aged woman. In the shell of this new body, Ramiro must adjust to the dizzying transformations that the world has undergone since his death. Using Ramiro himself as an avatar, Castagnet walks us through a stifling new version of reality where sex, gender, identity, religion, and politics are defined by the limitless possibilities of the human body. Castagnet is considered one of the most promising new voices in Latin American literature and Bodies of Summer shows us why.

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