Search results for ""dalkey archive press""

The time is the twilight of the decrepit Brezhnev regime, the place, the Soviet Socialist Republic of Moldavia: the “Latin periphery of empire.” A pensioner seeks justice for his dead wife, crushed by a falling crane--the very symbol of the “construction of socialism”--but comes up against hostility from a cynical system at best indifferent, at worst contemptuous of human life. With a keen, Gogolian eye for the grotesque, often squalid, details of everyday life in the USSR, Iulian Ciocan paints darkly humorous but compassionate portraits of Homo sovieticus, from crusty war veterans and lowly collective farm workers to venal Party bigwigs, as each comes to the disturbing realization that the lofty ideals of Soviet society were lies all along. And for idealistic young pioneer Iulian, the biggest disillusionment of all will be the abrupt revelation of Brezhnev’s mortality.

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This collection of eight stories—cynical and sympathetic by turns—represents the author’s attempt to document and understand the conflicts, resentments, hatreds, and anxieties of contemporary family life. The title story depicts a mother’s busy day playing numerous roles—ashamed, fearless, or humble—depending on which member of her family she’s tending to. In “The Privacy of My Father,” a daughter tracks her father to Hong Kong in order to spy on what she thinks is an illicit affair. All in all, says Seo Hajin, family means deception—but these masks aren’t so easily removed.

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At once an ironic portrayal of contemporary Korea and an intimate exploration of heartache, alienation, and nostalgia, this collection of seven short stories has earned the author widespread critical acclaim.

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As time has proven, Theory of Prose still remains one of the twentieth century’s most significant works of literary theory. It not only anticipates structuralism and poststructuralism, but poses questions about the nature of fiction that are as provocative today as they were in the 1920s. Founded on the concept of “making strange,” it lays bare the inner workings of fiction—especially the works of Cervantes, Tolstoy, Sterne, Dickens, Bely and Rozanov—and imparts a new way of seeing, of reading, and of interacting with the world.

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Requiem is a darkly comic novel about what it means to be human in a culture obsessed with sex and death. With a structure loosely based on the Mass for the Dead, this ambitious novel includes letters-to-the-editor, an e-mail correspondence with a porn queen, scenes from the lives of classical musicians, and retellings of biblical stories. In the process, White charts the rise and fall of the Human from the Bible (pre-human), to the Enlightenment (the invention of the human), to the digital age (post-human). In an America where everyone keeps a secret website, and where a modern Prophet can only weep at the stories he hears, Requiem reveals our past, present and future with wit, sadness, and complete honesty.

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-- First paperback edition. -- Hortense is in trouble again. Set to marry the Premier Prince Presumptive, our heroine finds herself caught in the middle of the plot of Hamlet, playing the unfortunate role of Ophelia. Can she escape in time? Brimming with brilliant wordplay, mathematical equations, literary allusions, and cats, Hortense in Exile continues the Hortense series in grand style. -- Jacques Roubaud is president of the l'Association Georges Perec, a society dedicated to honoring the work of his fellow Oulipian. -- First published in the U.S. by Dalkey Archive (1992).

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For five years, Enn Padrik has postponed the investigation into the apparently religiously inspired suicides of his daughter and her friends at a commune near Viljandi, but now he can postpone it no longer. He must travel all over Estonia and even as far as France interviewing anyone who might remember anything relevant. Some of these people seem to have been waiting for him, others refuse to talk. And little by little, a bigger and quite unexpected picture starts to emerge. From the late 1970s through 2011, The Reconstruction spans the lives of two generations, going from the late 1970s through 2011, narrating the changes in the wider world and Estonian society in particular, the transition from a world of right and wrong to a world where most things are neither, but the yearning for absolute truths still won’t go away.

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A middle-aged couple takes in a prurient young woman picked up from the side of the road; a single mother struggles against the hostile feelings she harbors towards her precocious son; a man has alternative fantasies of domination and submission involving a fellow commuter; a hotel room is booked by an elderly woman in search of a place to end her life. In the fourteen stories that make up A Perfect Disharmony, Sébastien Brebel explores the experiences of isolated women and sexually obsessed men while weaving together digression, daydreams, and an accumulation of detail to create a wholly unique approach to the short story form.

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Since its inaugural appearance in 2010, Best European Fiction has become an essential resource for readers, critics, and publishers interested in contemporary European literature. In this, the ninth installment of the series, the anthology continues its commitment to bringing together some of the most exciting prose writing in Europe today. Best European Fiction 2018 is a compendium of stories by both established writers and newcomers, ranging from Ireland to Eastern Europe, ripe for the discovery of curious readers around the world.

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Angel Station takes its title from the bustling Metro stop in the Prague district of Smíchov. Until the gentrification of the late 1990s, it was a rough-and-tumble, working-class neighborhood with a sizeable Roma and Vietnamese population. Topol’s novel, in sparse yet poetic language-agilely brought into English by the author’s longtime translator Alex Zucker-weaves together the brutal and disturbing fates of an addict, a shopkeeper, and a religious fanatic as they each follow the path they hope will lead them to serenity: drugs, money, and faith.

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After more than thirty years in New York City, Elaine Nichols returns home to Ireland to her invalid father and his geriatric Alsatian dog. As a pregnant teenager she was sent away to avoid scandal and possible legal consequences. Shuttling back and forth between two time zones-the 1970s and the present-and set in a Cheever-esque suburb of sadness and shame, The Lives of Women deals with the savagery of respectability, betrayal, and the desperation that ensues when a sixteen-year-old girl gets pregnant and feels she has no one to help her, apart from her friends. Hickey (The Cold Eye of Heaven, Last Train from Liguria) shows herself to be a storyteller of rare ability and a stylist of clarifying beauty.

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Recounting: Antagony, Book I surveys the social history of Barcelona and Catalonia, primarily since the end of the Spanish Civil War in 1939. The novel follows the youth and education of Raúl Ferrer Gaminde, son of a well-connected, middle-class Catalan family that embraces Franco and Spanish Nationalism. The novel’s potent drama plays out through Goytisolo’s crisp, forceful presentation of youth, humor, optimism, rebellion, violence, sexual awakening, indulgence, punishment, and the realization of one’s artistic vocation. Alternately modern and historical, Recounting displays intelligent realism, emotional gravity, profane beauty, brute vulgarity, sweeping rhetorical scope, and seamless transitions through long, streaming passages of narrative and introspection.

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Four pairs of stories-four “double rooms”-sit side by side in the latest work of fiction by one of Spain’s most compelling writers. A publisher wonders about the voices that haunt her; a scriptwriter receives an unexpected gift; a dinner party is shaken by a mysterious guest; a father seeks to atone for his son’s crimes. Ranging from Madrid to Milwaukee, and from prose fiction to drama to essay, the chapters of this “narrative installation” echo one another, revealing a carefully layered composition of humor and foreboding. Double Room is a subtle meditation on the bonds between parents and children, the burdens of illness and grief, and the places we make our home.

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A Voyage to India is the story of Bloom, our hero, as he makes his way from Lisbon to India in a decidedly non-heroic age. Gone are the galleons, gone is god; so too the swords of the swashbuckler and sacerdotal certainty. In such an era, where is wisdom to be found? Bloom-ever deliberate, ever longwinded-takes his time getting to India, stopping first in London, then Paris and elsewhere in Europe, making friends, encountering enemies, recounting his life story, revealing the reasons for his flight from Lisbon and his vague hopes for and nagging fears about what he might find in India. Or within himself. His is a melancholic itinerary, an attempt to learn and forget. As our narrator flatly declares: “Life proceeds and is monstrous.” Parodying The Lusiads, Luis de Camões’s sixteenth-century Portuguese epic of seafaring exploration and naval prowess, Tavares’s poem is a solemn requiem of sorts, an investigation into the psyche of humankind in a world where the advance of technology outpaces our ability (or desire) to theorize it, the search for wisdom has been abandoned, and old imperialist dreams have revealed themselves to be a postcolonial nightmare.

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The gunning down of her mother in a Richmond street sets young Helen Stockton Defoe on a journey of self-discovery. A physical feature she had first noticed when she was nine years old has made her feel apart and she has quietly capitalized on the privilege, never mind the aura, which surrounds her. She lives in her head and fills her thoughts – and days – with science, horses and art. The more intently she begins to observe her remote, detached father, the more she learns about her place within the rarefied world she inhabits. Just when it appears she is at last becoming closer to him, it all falls apart as he coldly undermines her abiding passions, which causes her to question the identity she has created. Her rebellion leads her to Europe on a disturbing path dominated by chance and an evolving self-realization. As a result of these experiences she gains an ability to feel deeply, something from which she had always felt somehow excluded. This most unusual coming-of-age novel with its impressive characterization, humor and vivid sense of place takes its clever, if barely street-wise and increasingly obsessive, teenaged narrator on a physical as well as psychological journey towards an astute, hard fought, and deserved, maturity.

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This anthology is the essential resource for readers, critics, and publishers interested in contemporary European literature. In this, the eighth installment of the series, the anthology continues its commitment to uncovering the best prose writing happening across the continent from Ireland to Eastern Europe. Also featuring an erudite prefatory essay written by Eileen Battersby of the Irish Times, Best European Fiction 2017 is another essential report on the state of global literature in the twenty-first century.

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The protagonists of Suzana Tratnik’s short stories all share a sense of isolation on society’s margins. Whether non-participants in the mainstream, rebels against it, or its occasional victims, they’re well practiced at recognizing the herd instinct in action. From the six-year-old girl who discovers transgressive new games to play with her glamorous cousin from England; to a decidedly unusual schoolchild inventing a novel way of getting back at playground bullies; to young women who find their love interests drifting away, seduced by conventional notions of popularity and success; to a narrator who suddenly finds herself on no ordinary train trip through the heart of Slovenia-these are characters and stories that deftly and sardonically underscore the phantom nature of “normalcy” itself and the risks of its tyranny for dissenters and conformists alike.

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Scenes from the Enlightenment: A Novel of Manners was published in 1939, toward the end of the Japanese colonial period in Korea, and depicts seemingly trivial events in the lives of the residents of a small town northeast of Pyongyang: a wedding between two local families, the arrival of box upon box of fascinating new Western products at the Japanese-run general store, a long-awaited athletics meet held at the local school. But in these events, and in the changing familial and social relationships that underpin them, we see a picture of a changing Korea on the cusp of modernity. When two boys decide to cut their hair in the Western fashion, the reader sees the conflict between tradition and modernity presented not in abstract terms, but in one of the myriad ways it affected the lives of those who lived through this time of change.

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On Wing, the first published work of fiction by the Slovak poet-philosopher Robert Gal, is a constellation of hundreds of aphorisms, dreams, anecdotes, and inquiries, all written in a restless, searching, "improvisational" prose whose techniques reflect those of Bernhard, Nietzsche, and Kierkegaard, not to mention the saxophonist and composer John Zorn, who makes a brief cameo as a character.

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According to his contract, the old man has five months to sit on his bench and reminisce about his childhood, but all that comes out are curious stories--about leprous dominos, amorous concrete towers, chaste call girls, and more. In other words: the old man twaddles on and on. A virtuoso novel that reveals what language can do when it serves no purpose but its own proliferation, Swiss provocateur Urs Alleman's "The Old Man and the Bench" is a comedy of mangled verbosity.

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Set in San Francisco, A Contrived World recounts the author’s visit to the mythic Californian city. While the novel is based in this real experience, the narrator’s imaginative reflections cause the narrative to balloon outward into the realms of fiction and fantasy. Each chance encounter provides an opportunity to unfurl a fictional world that simultaneously complements and compromises the real world. In this mirthful anti-novel, the ambiguous fusion of observation and invention disrupts the conventions of personal memoir and travel writing, resulting in a chronicle that sets fiction against experience.

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Originally published in Korean as Moksin ui otton ohu by Munhak Tongne, Paju, 2008--Title page verso.

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For the past half-century, John Barth has been recognized as our quintessential postmodernist and praised as one of the best writers “we have ever had” (New York Times Book Review). In this unique collection, thirty-six writers and critics look back at Barth’s career, providing a deeper understanding of his books as well as privileged glimpses into the man behind the books. John Barth: A Body of Words is a bit of a chimera: a tripartite hybrid of tributes and reminiscences from friends, colleagues, fellow writers, and former students; a sheaf of cutting-edge scholarly essays; and a triadic conclusion comprising a description of the Sheridan Libraries Barth Collection, a rare recording of a 1966 public reading by Barth, and a two-part radio interview with him. At once a Festschrift, an assemblage of academic essays written to honor a colleague, and a liber amico- rum, this volume provides Barth’s critics, students, and fans with an essential vade mecum to his life and works.

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Following a crippling depression, a writer wanders from his native Dublin around an increasingly unrecognizable Europe in the years following the Cold War, assembling a patchwork of stories, conversations, love affairs, and regrets.

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This volume brings together three short novels by Catalan literature's great maverick and recluse, each depicting a brutal, abstract world where words are the only reality--shifting between the erudite, the archaic, and the vulgar. "Carrer Marsala," which won prizes from the City of Barcelona and the Generalitat de Catalunya--neither of which Bau bothered to accept--is a relentless monologue delivered by a paranoid hypochondriac obsessed with dental hygiene, sex, and his own squalid rooms in Barcelona. In "The Old Man," the narrator observes a strange building where a decrepit prisoner is ritually beaten by a policeman once a week. "The Warden" details the narrator's own captivity, and his relationship with the woman who keeps him prisoner. In Martha Tennent's haunting translation, reminiscent of a Mediterranean Beckett or Thomas Bernhard, Miquel Bau 's work is a pungent reminder of the ways the world fails its prophets and pariahs.

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The bunker-like café in Tallinn known as “The Cave” is the epicenter of bohemian culture in Soviet-era Estonia. The café’s regulars, the “Cavemen,” escape the dreary reality above ground with vodka and high-minded discussion in their private hideaway. Told from the perspective of a gossip columnist, the novel traces the lives of several of these misfits as they attempt to pursue careers as artists, writers, and politicians in pre- and post-perestroika Estonia. The country’s march towards independence and democracy sets off a series of individual dramas that offer the reader a refreshing alternative to the grand narratives of world history. Written with great verve and humor, Mihkel Mutt’s novel provides an illuminating look at life on the fringes of occupied Estonian society.

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A nameless narrator and his friend Alberto move through a constantly morphing continuum of dream-like situations while discussing philosophy, literature, and war. The impossible question of an enormous student in a lecture hall at an English university sets off a series of alternate paths that open before them like a fan. In taverns, boats, and plazas, the two protagonists discuss John Donne, Lawrence of Arabia, and Lenin with English students, a group of young and old women, and eight hundred drinkers, all the while being dropped from one strange place into the next. A remarkable work of refined surreal comedy.

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Best European Fiction is an exhilarating read. Time

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"I can never remember stories, plot outlines," says one of the characters in this novel, "Dramatic events or flashy stories, anything like that..."

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In some kind of institution, maybe a hospital or rehabilitation center, we are introduced to Wert, a disturbed, traumatized man still suffering the horrors of his experience as a soldier fighting in an unidentified conflict. A patient or prisoner, Wert writes down his memories of the war; his impressions of his current, ill-defined treatment; and his reflections on his own psychological well-being. When at last released, Wert undertakes a long journey to the east, and slowly recognizes the events of his life as being reminiscent of episodes from ancient epic narratives--as though his entire story has simply been the reenactment of a tale first told thousands of years before. Chipping away at its narrative through short, rhythmic, poetic sentences; combining the worlds of the avant-garde and the ancient epic; and revealing the interconnectedness of psychology, lived experience, and the written word, "Wert and the Life Without End" is a masterpiece of self-reflective storytelling.

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The launch of Dalkey's Best European Fiction series was nothing short of phenomenal, with wide-ranging coverage in international media such as Time magazine, the New York Times, Wall Street Journal, Chicago Tribune, Financial Times, and the Guardian; glowing reviews and interviews in print and online magazines such as the Believer, Bookslut, Paste, and the Huffington Post; radio interviews with editor Aleksandar Hemon on NPR stations in the US and BBC Radio 3 and 4 in the UK; and a terrific response from booksellers, who made Best European Fiction 2010 an "Indie Next" pick and created table displays and special promotions throughout the US and UK. For 2011, Aleksandar Hemon is back as editor, along with a new preface by Colum McCann, and with a whole new cast of authors and stories, including work from countries not included in Best European Fiction 2010.

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This collection of sharp, spare, occasionally absurd, cruel, touching miniatures addresses the fundamental difficulty we have in making the people we love understand what we want and need. Demonstrating that language and intimacy are as much barriers between human beings as ways of connecting them, Andrej Blatnik here provides us with a guided tour of the slips, misunderstandings, and blind alleys we each manage to fall foul of on a daily basis--no closer to understanding the motives of our families, friends, lovers, or coworkers than we are those of a complete stranger... or, indeed, our own. Partly parables, partly fairy tales, partly sketches for novels that will never be written, "You Do Understand" is a perfect comedy of errors--the errors of a species of talkers who've never learned how to listen.

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A Community Writing Itself features internationally respected writers Michael Palmer, Nathaniel Mackey, Leslie Scalapino, Brenda Hillman, Kathleen Fraser, Stephen Ratcliffe, Robert Glu ck, and Barbara Guest, and important younger writers Truong Tran, Camille Roy, Juliana Spahr, and Elizabeth Robinson. The book fills a major gap in contemporary poetics, focusing on one of the most vibrant experimental writing communities in the nation. The writers discuss vision and craft, war and peace, race and gender, individuality and collectivity, and the impact of the Bay Area on their work.

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Juan Goytisolo's radical revision of his masterpiece Juan the Landless is the starting-point for this new translation by renowned translator Peter Bush. The new text focuses on Goytisolo's surreal exploration and rejection of his own roots, Catholic Spain's repression of Muslims, Jews and gays, his ancestors' exploitation of Cuban slaves and his own forging of a language at once poetic, politic and ironic that celebrates the erotic act of writing and and the anarchic joy of being the ultimate outsider. In Juan the Landless the greatest living novelist from Spain defiantly re-invents tradition and the world as a man without a home, without a country, in praise of pariahs.

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In this short, brilliant book, Viktor Shklovsky enunciates the function of the arts: what they are and, just as importantly, what they are not. In the course of defining what art is, by implication he also quietly lays to waste the theories and people who view art as a means of representing "the real world" and a method of communication. His views of the other arts then lead him into his speculations about the art of cinema photography, new at the time that Shklovsky composed his polemic in 1923.

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The Temple of the Wild Geese, a semi-autobiographical account of Mizukami's childhood, tells the tale of Jinen, a Buddhist monk raised by villagers after his mother, a beggar, abandoned him. Sent to live at a temple at the age of ten, his resentment smolders for years until it explodes in a shocking climax. In Bamboo Dolls of Echizen, no woman is willing to marry the diminutive Kisuke, a bamboo artisan, until Tamae, a prostitute, comes to pay her respects at the grave of Kisuke's father. In Tamae, Kisuke sees shadows of his own mother, who died when he was young, and the two eventually marry. Since Kisuke seeks only motherly affection from Tamae, the two never become lovers. Instead, Tamae devotes herself to caring for Kisuke as a mother would, and he thrives as a renowned maker of bamboo dolls.

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This Naoki Prize-winning work is a personal yet precise account of the lives of working women in the Edo period (1600-1868). In the latter half of the Edo period, the warrior caste was finding itself pushed out of the top echelons of society by the rising merchant class, and repeated famines swept the countryside. Against this backdrop, a small number of women vigorously built themselves independent lives with unusual careers--working as designers of ornamental hairpins, or even scribes--in the male-dominated society of the day. The stories in The Budding Tree recount the conditions in which these women lived.

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Set at a boardinghouse in rural New Jersey in the summer of 1939, this novel revolves around four people who experience the comedies, torments and rare pleasures of family, romance and sex while on vacation from Brooklyn and the Depression. Billy Recco, an eager ten-year-old in search of a father... Marie Recco, nee McGrath, an attractive divorcee caught between her son and father, without a life of her own... John McGrath, dignified in manner yet brutally soured by life, insanely fearful of his daughter's restlessness... Tom Thebus, a rakish salesman who precipitates the conflict between Marie's hopes and her father's wrath. What emerges is a sure understanding of four people who are occasionally ridiculous, but whose integrity and good intentions are consistently, and tragically, frustrated. Combining humor and feeling, balancing the details and the rhythms of experience, Aberration of Starlight re-creates a time and a place as it captures the sadness and value of four lives. First published by Random House in 1980, it is widely considered one of Sorrentino's finest novels.

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The Review of Contemporary Fiction is a tri-quarterly journal that features critical essays on fiction writers whose work resists convention and easy categorization.

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'As You Were Saying' pairs some of America's best writers with their French contemporaries, to show the importance of considering - and responding to - the world beyond one's borders.

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A man murders a grocer over fifteen cents—but in the sharp, icy prose and detached tone that defines this collection, his crime seems neither sensational nor entirely reprehensible. Rosa Liksom populates a world of snow-covered landscapes, antiseptic apartments, fish factories, and lumber camps with the obsessive, the violent, and the unhinged. A woman refuses to leave prison until she has served her entire sentence. A man obsessively cleans his apartment as his life moves on around him. A woman kills her new husband over his neediness and inability to leave their bed. The stark lives and actions of these characters are infused with an emotional intimacy that draws the reader into uncomfortable empathy with the extremity of their deeds.

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This novella recounts the imagination of a lonely old man who becomes obsessed by a beautiful young girl in his village. His every moment is filled with thoughts and fantasies about her. Eventually lines cross as this fantasy becomes a reality, paternal feeling and sexual urges combining as they become lovers. This is a brialliant, poetic account of the wanderings of an old man's mind

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During the five years of their adulterous affair, Finn Fitzgerald and Elin Marstrander spend only 47 days and nights together. At each of their meetings--in Spain or London, or on the tiny island of Bornholm in the Baltic Sea, which serves as their last refuge--they try to conjure a reality that will correspond to that of the passionate letters they exchange while apart. Elin, a Danish poet, and Fitz, an Irish novelist, send each other beautiful, loving words, as well as evocative jabs of cruelty, often in the same letter. In the whirling world of their writing they attempt to enjoy their love in the calm they can't find in their daily lives. But as reality--their lovers and their children; their failures and regrets--creeps in, their relationship inevitably crumbles: "The dream ends."

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Breaking the law in a foolhardy attempt to accommodate his customers, unscrupulous department store owner Leo Feldman finds himself in jail and at the mercy of the warden, who tries to break Leo of his determination to stay bad.

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An unforgettable invective, "Night" marks the emergence of an exciting new voice in contemporary fiction.

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At times in his life, Tom Harris is a dull schoolboy, an apprentice barber, a delinquent husband, an old man with a monkey who drinks at the Green Man Pub, "il professore Harris" at the University of Genoa, and possibly a murderer. But the question of who the elusive Tom Harris really is, and what crimes he has really committed, obsesses the narrator of this novel. Tom Harris can perhaps be described as a sort of philosophical detective story, ingeniously plotted and wittily told with a stylistic virtuosity on par with the most playful works of Raymond Queneau.

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The five interlocking stories in The Tower Of Glass create a singular, powerful account of a nation in turmoil - and a prophetic warning about an oppressive government's need to control not just the society but the mind. Through symbolism, wry humour, and outrageous sexual frankness, Ivan Angelo tells of businessmen and whores, poor working people and Death Squads, truth and illusion, and methods of political manipulation and terror. From the gritty, bawdy story of "Bete the Streetwalker" to the Kafkaesque portrait of a prison made of glass, the fictional pieces demonstrate Angelo's masterful wordplay, and his ability to take formal and structural risks without a false step.

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