Search results for ""Peninsula Press""

When unambitious scholar Ramoon Beltra receives a mysterious invitation to a lucrative six-month fellowship at the University of Lerna in Switzerland, he reluctantly complies with the unusual qualifying paperwork requiring several pages of detailed measurements and photographs of his entire body. Beltra soon finds himself in the deserted university town of Lerna, together with twenty-three other ''novices'' subject to the same undisclosed project - all of them doppelgangers of Beltra himself. At first, Beltra is the only one to bristle at the school''s dizzying array of rules and regulations, but this all changes with the onset of an uncontrollable epidemic, and the fellows begin dying off one by one... The Novices of Lerna is a meditation on identity, surveillance, and isolation that remains eerily relevant. Shot through with wry humour and tender absurdity, this novella offers a perfect introduction to Angel Bonomini''s incomparable body of work.

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Cancer, tumour, cancer. The words fizzle and dissolve into nothing like aspirin in water. I exist in the third person. The room is blue. When Graham Caveney was a child the word ''cancer'' was unspeakable, only uttered in jokes told by people too frightened to say the word in any other context. Now the boy with perpetual nervousness is a fifty-something man, and the oncologist in front of him is saying words evacuated of all meaning: Inoperable. Incurable. In this startling and deeply moving memoir from one of the great chroniclers of British working-class life, Graham Caveney charts a year of disease from diagnosis to past ''original sell-by-date''. Shot through with Northerness, tenderness, and Caveney''s trademark humour, The Body in the Library reflects on an unfinished lifetime filled with books and with love. What''s it like to realise that the books on your shelf will remain unread? That the book you are writing will be your last - that you have become your own deadline?

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From the author of Weird Fucks, a witty, bleak, and outrageous account of American girlhood. Haunted Houses is the story of three young women. Jane’s occasionally violent father reads her the Gettysburg Address at bedtimes, while Emily’s parents are FDR Democrats who only privately concede she may be normal. Grace believes her dolls come alive at night and talk against her, and has a mother who likes animals more than people. Tillman charts the girls’ unsteady drift into womanhood, revealing the multiple forms of inheritance – family, gender, culture – that a girl must swallow or rebel against. Haunted Houses is about the past within the present, the inescapability of private memory and public history. In prose that is uncanny and precise, it showcases Lynne Tillman at her boldest and most trenchant.

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Juggling with our perception of time and reality, Still Life tells the story of an author struggling to write a biography of Scottish poet and abolitionist Thomas Pringle. In her efforts to resurrect Pringle, the writer summons the spectre of Mary Prince, the West Indian slave whose History Pringle published, along with Hinza, his adopted black South African son. As these voices vie for control over the text and the lines between life writing and fiction-making begin to blur, yet another voice enters the chorus: Sir Nicholas Greene, the self-regarding poet from Virginia Woolf's novel Orlando. Their adventures through time and space, from Victorian South Africa and London to the author's desk in Glasgow in the present day, offer a poignant yet often playful exploration of colonial history and racial oppression

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The City of Durham, 1434. Out of a storm, an aging minstrel arrives at the cathedral to entertain the city''s most powerful men. Mother Naked is his name, and the story he''s come to tell is the Legend of the Fell Wraith: the gruesome ''walking ghost'' some say slaughtered the nearby village of Segerston forty years earlier. But is this monster only a myth, born from the dim minds of toiling peasants? Or does the Wraith - and the murders - have roots in real events suffered by those fated to a lifetime of labour? As Mother Naked weaves the strands of the mystery - of class, religion, art and ale - the chilling truth might be closer to his privileged audience than they could ever imagine. Taking its inspiration from a single payment entered into Durham''s Cathedral rolls, ''Modyr Nakett'' was the lowest-paid performer in over 200 years of records. Set against the traumatic shadow of the Black Death and the Peasant''s Revolt, Mother Naked speaks back from the margins, in a fury of imagin

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From the brilliantly original novelist and cultural critic Lynne Tillman comes Mothercare, an honest and beautifully written account of a sudden, drastically changed relationship to one's mother, and of the time and labor spent navigating the American healthcare system When a mother's unusual health condition, normal pressure hydrocephalus, renders her entirely dependent on you, your sisters, caregivers, and companions, the unthinkable becomes daily life. In Mothercare, Tillman describes doing what seems impossible: handling her mother as if she were a child and coping with a longtime ambivalence toward her. In Tillman's celebrated style and as a 'rich noticer of strange things' (Colm Toibin), she describes, without flinching, the unexpected, heartbreaking, and anxious eleven years of caring for a sick parent. Mothercare is both a cautionary tale and sympathetic guidance for anyone who suddenly becomes a caregiver. This story may be helpful, informative, consoling, or upsetting, but it never fails to underscore how impossible it is to get the job done completely right.

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'And at last Min was released from the duty she had imposed on herself, to remain with him as long as he needed her.' In the stories that compose this collection, Maeve Brennan turns her anatomist's eye to the ugly feelings that teem just beneath the surface of family life - doing so, however, with an attention to detail that makes these unsparing portraits luminous and exquisite. Brennan's subjects are ordinary people worn down by life, by its disappointments, its little humiliations. Yet they are also dreamers, defiantly hopeful of one day overstepping the narrow confines of the situations in which, unaccountably, they find themselves. These are stories that ache; pitting imagination against circumstance, they are at once claustrophobic and expansive, heartbreaking and miraculous. With a new introduction by acclaimed novelist Claire-Louise Bennett, The Springs of Affection reveals Maeve Brennan to be one of the 20th century's most innovative and important writers.

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Shortlisted for the Goldsmiths Prize and the Republic of Consciousness Prize Polar bears emerge from t-shirts. Reeboks come to life. Nothing is normal in the house of Mother Normal. In Isabel Waidner’s second novel, we follow an unnamed narrator who looks like Eleven from Stranger Things, but is in fact a 36-year-old migrant working for minimum wage in a run-down hotel on the Isle of Wight. Along with their best friend, Shae, the narrator faces Ukip activists, shapeshifting creatures, and despotic bosses while trying to hold down their job and preparing for their Life in the UK test. This is fiction that extends the avant-garde tradition beyond the upper-class experience that it usually chronicles – making it over as an ally of working-class queer experience. Set against a backdrop of austerity and decline, We Are Made of Diamond Stuff is an irreverent, boundary-erasing piece of work that celebrates the radical potential of resistance, ingenuity, and friendship.

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In 1937 the Nazis staged an exhibition of seized artworks to showcase the 'perverse Jewish spirit' pervading German culture. It contained work by Jewish artists, but also those were queer or foreign. It was an event that sought to define degeneracy and put it on display. This exhibition, Entartete Kunst, is just a single episode in a long running culture war, one that has always been fought on terms set by fascism. In A Nazi Word for a Nazi Thing, So Mayer gives us a new frame through which to view these intertwined yet disparate histories.

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Ezekiel Hooper Stark is a cultural anthropologist nudging forty. His interest is family snapshots. At home, he is absorbed by his own family's idiosyncrasies, perversities, and pathologies, until romantic betrayal sends him spiralling into a crisis. All the old models of masculinity are broken. Zeke embarks on a new project, studying the 'New Man', born under the sign of feminism. What do you expect from women? he asks his male subjects. What do you expect from yourself? Meanwhile, what will the reader make of Zeke is he enlightened, chauvinistic, or simply delusional? Kaleidoscopic and encyclopaedic, comic, tragic, and philosophical, Men and Apparitions showcases Lynne Tillman not only as a brilliantly original novelist but also as one of our most prominent contemporary thinkers on art, culture and the politics of gender.

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From the author of Close to the Knives, a series of fictional monologues that create a visceral and carnivalesque mosaic of life at the fringes of late-80s America. The Waterfront Journals is a collection of monologues, each ventriloquising one of the many people whom Wojnarowicz met on his travels throughout America while he was sleeping rough. We meet these down and outs in unassuming locations - in truck stops, bus stations and parks - and taken together their voices form a poignant chorus that distils the desires, dreams and dangers of those people whose lives confined are to the margins.

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'Our lives do not start entirely with our births.' Prussia, the early 19th century. As he attempts to bury his recently deceased wife, Redo Hauptshammer uncovers the frozen body of a uniformed soldier. As he continues to dig, the bodies start to pile up - all of them fallen cavalrymen bearing the secrets of an earlier era. For readers of W. G. Sebald and Agustin Fernandez Mallo, this archaeological novel digs into Europe's soil, uncovering a long history of violence and expropriation. Mora's writing is audacious, melancholy, and formally experimental. Each chapter is longer than the one that precedes it – as the bodies proliferate, the story keeps getting more complicated. In a bold yet lyrical translation by Rahul Bery, Centroeuropa introduces English-speaking readers to one of Europe's pre-eminent experimental prose writers currently at work.

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Shortlisted for the Miles Franklin Award Pain was Joe Grim’s self-expression, his livelihood and reason for being. He rarely won a fight, but in the early decades of the twentieth century Grim became a folk hero, distinguishing himself for his extraordinary ability to withstand physical punishment. In this wild and expansive novel Michael Winkler tells the story of Grim’s 1908–9 tour of Australia, bending genres and histories into a kaleidoscopic investigation of pain, masculinity, and narrative. The body in pain exists at the very limits of language. And yet Grimmish suggests that pain is also the most familiar and universal human condition – and, perhaps, the secret source of the human impulse to tell stories. By turns hilarious and tragic, vulnerable and tough, Grimmish is a truly a one of a kind – in the words of J. M. Coetzee, ‘the strangest book you are likely to read this year.’

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Manhattan, 2014. Erin Adamo is locked out of her apartment. Her husband has just left her and her keys are at her parents' apartment, abandoned when she exited mid-dinner after her father-once again-lost control. Erin takes refuge in the library of the university where she is a grad student. Her bag contains two manuscripts she's written, along with a monograph by a faculty member who's recently become embroiled in a bizarre scandal. Erin isn't sure what she's doing, but a small, mostly unconscious part of her knows: within these documents is a key she's needed all along. With unflinching precision, Life Is Everywhere captures emotional events that hover fitfully at the borders of visibility and intelligibility, showing how the past lives on, often secretly and at the expense of the present. Multifarious, mischievous, and deeply humane, Lucy Ives's latest masterpiece rejoices in what a novel, and a self, carry.

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"It's mid morning. Cool. Not many coffee bars open. I, the brave one, god of any telephone kiosk, walk down Dean Street, see the man of the day; raincoat, shoulders round, hair black, falling out; heavenly blue eyes cast down into his own hell. Bold as brass I cross the road stopping dead in front of him. He raises his eyes, so sadly that I love him for it." Leda is lost. Bouncing from job to job, from coffee bar to house party, he spends his days watching the hours pass and waiting for the night to arrive. Trysts in the rubble of a bombsite follow hours spent in bedsits with near strangers, as Leda is forced to find intimacy in unusual places. Semi-homeless and estranged from his given family, he relies on the support of his chosen one: a community of older gay men and divorced women who feed and clothe him, gently encouraging him to find a foothold in a society which excludes him at every turn. And then there is Daniel, a buttoned-up man of the Lord, for whom Leda nurses an unrequited obsession - one which sends him spiralling into self-destruction. With a foreword by Huw Lemmey, this newly discovered, never-before-published novel - which pre-dates the Sexual Offences Act of 1967 - is a portrait of lost a Soho, as well as an important document of queer, working-class life, from a voice long overlooked.

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Moments of clarity are rare and fleeting; how can we become comfortable outside of them, in the more general condition of uncertainty within which we make our lives? Written by critic Emily Ogden while her children were small, On Not Knowing forays into this rich, ambivalent space. Each of her sharply observed essays invites the reader to think with her about questions she can't set aside: not knowing how to give birth, to listen, to hold it together, to love. Unapologetically capacious in her range of reference and idiosyncratic in the canon she draws on, Ogden moves nimbly among the registers of experience, from the operation of a breast pump to the art of herding cattle; from one-night stands to the stories of Edgar Allan Poe. Committed to the accumulation of knowledge, Ogden nonetheless finds that knowingness for her can be a way of getting stuck, a way of not really living. Rather than the defensiveness of wilful ignorance, On Not Knowing celebrates the defencelessness of not knowing yet - which, Ogden suggests, may be a form of love.

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A personal essay on exposure, auto-fiction, internet feminism and the anxiety epidemic. Last year Olivia Sudjic published Sympathy, a novel about surveillance and connection in the internet age. If a debut novel is written by a woman, it is often read and discussed as if it were a memoir. Suddenly Sudjic found herself shoved under the microscope, subject to same surveillance apparatus she had dissected in her novel. In this incisive personal essay, Olivia Sudjic draws on her experience to examine the damaging expectations that attend any young female artist, as well the strategies by which they might be evaded.

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You are a loser. This isn't a personal slight, but an impersonal truth of the species, writes Josh Cohen in this essay about love, literature and politics. Today, no figure in more ridiculed and reviled than the loser. In the wake of recent political upsets, the bruised liberal dreams of winning it all back. Meanwhile a swollen self-help industry continues to grow with a single, seductive promise: read this, and join the ranks of the winners. But being a loser isn't a personal failing; it's an essential part of being human. In this remarkable essay, at once political, philosophical and very funny, psychoanalyst Josh Cohen teaches us to take pride in embracing our inner loser.

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An artist in her late twenties awakens one morning to a deep drone in her right ear. She is diagnosed with Sudden Deafness, but is offered no explanation for its cause. As the specter of total deafness looms, she keeps a record of her year - a score of estrangement and enchantment, of luck and loneliness, of the chance occurrences to which she becomes attuned - while living alone in a New York City studio apartment with her dog. Through a series of fleeting and often humorous encounters - with neighbours, an ex-lover, doctors, strangers, family members, faraway friends, and with the lives and works of artists, filmmakers, musicians, and philosophers - making meaning becomes a form of consolation and curiosity, a form of survival. At once a rumination on silence and a novel on seeing, The Hearing Test is a work of vitalizing intellect and playfulness which marks the arrival of a major new literary writer with a rare command of form, compression, and intent.

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In this wide-ranging and intellectually lively essay, Amber Husain asks if our obsession with replacement is the very thing that is keeping the world in stasis. And, if so, with what might we replace our obsession with replacement? With references spanning the avant-garde art tec--futurism, and Effective Altruism, and taking in writers from Aristotle to Anne Boyer, Replace Me is a celebration of the possibilities for political transformation inherent in the act of embracing one's own replaceability.

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In Lovebug, Daisy Lafarge explores metaphors of love and disease as she seeks to understand human vulnerability and our intimacy with microbial life. Turning to microbiology, mysticism, and psychoanalysis – as well as the raw materials of love and life – Lafarge navigates the uncomfortable intimacy between the human body and the many bacteria, vi-ruses, and parasites to which it is host. Lovebug is a book about the poetics of infection, and about how we can learn to live with multispecies ambivalence. How might we forge non-phobic relationships to our ‘little beasts’? How might we re-wild our imaginations? In weaving the personal with the pathological, Lovebug complicates the idea of coherent selfhood, revealing life as a site of radical vulnerability and an ongoing negotiation with limit.

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'It would be better if we took a moment to be really grateful for this beautiful spacecraft which used to be so perfect for us. Which was built especially for us. When we got too big for Earth.' The spaceship Audition is hurtling towards an event horizon. Squashed immobile into its rooms are three giants: Alba, Stanley, and Drew. If they talk, the spaceship keeps moving; if they are silent, they resume growing. So they talk, and as they do, Alba, Stanley, and Drew recover shared memories of the injustices faced back on Earth by their former selves. Or are they constructing those selves from memory-scripts that have been implanted in them? At once speculative and grimly realistic, formally experimental and politically urgent, Audition asks how we live with each other's violences, and what happens when systems of power decide someone takes up too much space.

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In these delightful, melancholy prose sketches Maeve Brennan goes in pursuit of the ordinary, taking us on a tour of the cheap hotels, unassuming restaurants, and crowded streets of New York City. Brennan presents herself as the long-winded lady, solitary wanderer and wry observer of the human comedy. Whether she is riding the subway, failing to eat broccoli in a deserted restaurant, or watching lovers quarrel in Washington Square, Brennan manages to capture the wavering spectacle of the metropolis with an uncanny precision that makes these slight essays at once hallucinatory and hyperreal. Originally written for The New Yorker between 1954 and 1981 and presented here in full with a new introduction by Sinéad Gleeson, these pieces reveal Maeve Brennan to be one of the twentieth century’s most accomplished documentarians of city life, and one of its finest essayists.

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‘Raised from babydom into doubt, I’m as feminine as Rousseau. I, Hazel Brown, eldest daughter of a disappearing class, penniless neophyte stunned by the glamour of literature, tradeless, clueless, yet with considerable moral stamina and luck, left my family at seventeen to seek a way to live. It was the month of June in 1979. I was looking for Beauty: I didn’t exactly care about art, I simply wanted not to be bored and to experience grace. So I thought I would write.’ One morning, Hazel Brown wakes in a badly decorated hotel room to find that she’s written the complete works of Charles Baudelaire. In her bemusement the hotel becomes every cheap room she ever stayed in during her youthful perambulations in 1980s Paris. This is the legend of a she-dandy’s life. Woven into the reminiscences of Hazel’s early life are episodes from Baudelaire’s youth, as well as reflections on the history of tailoring, the passion of reading and 19th century painting. Lisa Robertson’s debut novel is an exploration of life lived in pursuit of beauty, and a celebration of the mind of a girl.

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"Today the ideal home remains a site of illusory ease, a space that can be wiped clean of the residues of living..." In this radical and elegiac essay, Sam Johnson-Schlee invites readers to consider the dreams and fantasies we have about our homes, and their underlying reality. Living Rooms blends history, theory, and memoir as it moves between the colonial trade in house plants, Proustian reminiscence, and razor-sharp critique of rentier capitalism. Johnson-Schlee suggests that, by looking closely at the places where we live, we can confront political realities that extend out into the world. In the way we furnish our homes, might we be unconsciously imagining a different kind of life? In the way we arrange our sofas, picture frames, and our pot plants, are we dreaming of a better world? And what would it mean to reject the notion that a house should be a commodity, and to embrace the idea of a truly living room?

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A piercing meditation on love and music, and the silence and inscrutability which underpins the performance of each. Luc has lived a long time as a soloist. She has not seen Billy for many years. A visit to a major show of his sculptures sends her arrowing back to a younger version of herself: to a time when she had to make room to love him when she'd felt no room within herself. To a time when she was forced to make a choice between being one thing or another. To a time when he was a sculptor, but she was not yet a cellist. In exquisite and crystalline prose, The Cellist explores how you might make room for beauty and mastery for yourself, and still leave space for someone else. It asks what love and companionship costs: what happens when you are forced to cast yourself in the distorting light of another person's needs?

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A young woman drifts through a series of one night stands and truncated love affairs. Finding herself in a series of increasingly bizarre situations, she turns her curious and savage eye out on the foibles of the world around her. The men of this world evade and simper, they prey, and preen, and fall hopelessly in love. Through these snapshots we get a biting psychopathology, not just of masculinity in its various masks, but of sex and desire in the early 1970s.

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Aspiring writer Sterling is arrested one morning, without having done anything wrong. Plunged into a terrifying and nonsensical world, Sterling - with the help of their three best friends - must defy bullfighters, football legends, spaceships, and Google Earth tourists in order to exonerate themselves and to hold the powers that be to account. Sterling Karat Gold is Kafka's The Trial written for the era of gaslighting, a surreal inquiry into the very real effects of state violence and coercion on gender-nonconforming, working-class, and Black bodies.

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Berlin is changing. Economic inequality is spiralling out of control, the party is moving on. Anja and Louis live on the mountain - an eco-community built and run by the corporation Anja works for. It is an experiment in green living. But soon enough the mountain begins to malfunction. Across the city, the weather becomes increasingly unpredictable. Louis has become obsessed with a secret project: a pill called Oval that temporarily rewires the user's brain to be more generous. While Anja is horrified, Louis believes he has found the solution to Berlin's income inequality.

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