Bøger udgivet af Dalkey Archive Press

What begins as a driving holiday in Northern France for two Scotswomen turns into a caustic and funny account of dysfunctional relationships - both between men and women and between women friends. Cassie and Rona - in their late thirties, both single and childless - are on each other's nerves from the moment they cross the Channel: Cassie is testy and cynical, Rona patient and plodding. Both are self-conscious of the fact that they seem to fit the stereotype of two "spinsters" linked by loneliness, and consequently rebel against the notion that a woman needs a man to feel "complete". Faced with the dilemma of "fancying men and not liking them very much", the women ponder the alternatives as they endure one tourist nightmare after another.

This remarkable novel, suppressed in 1957 and published by Dalkey Archive for the first time, is concerned with a day in the life of a stagnant, aristocratic Scottish family in the 1950s. As the family prepares for its annual Christmas dance, old rivalries and tensions flare as John Harling arrives to visit his sister Mary, who has married Duncan Mackean, next in line to inherit the estate left by Colin Mackean, dead two years now, but very much alive in the memory of the current family, presided over by Alan Mackean and his wife Augustine (Tin). By the end of this nerve-racking day, John tells his sister that this life, which you lead here, is incestuous and that her husband Duncan is in love with things he should have left -- long ago. Soil, place, family, the past -- roots...One must have courage to travel light today. That night, Duncan and Alan go out shooting; only one returns alive.

This extravagant novel marks the English-language debut of one of France's most exciting and controversial writers. At the center is a mysterious excavation site in southwest France, where the skull of a 500,000-year-old man has been discovered. Simon, a journalist assigned to do a story on the cave, is a voluptuary keenly responsive to his surroundings, finding an erotic patina over everything he sees, hears, touches, imagines."

In two interconnected, alternating stories, Claude Ollier has written a disturbing, haunting, apocalyptic novel that brings together the end of the Third Reich with the closing of the twentieth century. The first is the autobiographical story of Martin, a French student conscripted into a munitions factory in Nuremberg in the middle of World War II. The other is the story of a nameless writer who inhabits a twilight world where civilization has collapsed.

Compact is the story of a blind man living in a city of his own imagining. Confined to his deathbed, he engages in mental walks through the world's capitals. Composed of six intertwining narratives, Compact has lost none of its remarkable freshness or groundbreaking innovation since its first appearance in 1966.

When it happens you don't expect it. You don't expect anything anymore. You lose your head for just a second and someone walks into your life, turns it upside down, tenderly, brutally, making a place for himself. Even before anything has happened it's already too late. You can't tell who is choosing whom, when, how, why. You only know these things later when everything is over and each person holds the other accountable for what has gone on. These opening lines from Our Share of Time begin a story concerned with the impossibility of sustaining love, or even understanding how and why it started. In this diarylike reminiscence, Pierre Forgue, a Parisian school teacher, offers us an apologia for his past and present life as well as a bleak picture of his future. Moving between his Paris apartment and his summer cottage in Peyroc, he vacillates between love and indifference, between Duck (the young man who casually enters his life and who callously departs) and the rest of the world, between lost youth and approaching middle age.His is the universal midlife crisis accentuated by the presence of Duck, the now-you-see-him-now-you-don't young and handsome intruder who brings both happiness and misery. This novel, about the difficulty of maintaining lasting relationships, succeeds by the painstaking honesty with which Yves Navarre records events whose ending is happy, painful, and sweet.

The anonymous narrator in Alf MacLochlainn's?"Out of Focus"?has more than blurred vision when he looks at the world around him as he recuperates from his many minor accidents. His visual perception or skewed perspective is a working out of the author's theory taken from William Molyneux's statement in 1692 "that an object may be seen in two places yet not seen double." / Whether he is on his bed looking through the crystal of his watch, or in a hospital bathtub peering into the overflow opening, or sitting on a chaise lounge with an empty barrel of a ballpoint pen or ring from a beer can to his eye, or back in his bed looking through a gauze bandage, this very accident-prone hero/victim manages to see inside what appears to be real-life scenes going on outside. / And when he is not playing the voyeur, his mind runs on zany inventions (natural/non-natural bust supports and shot-proof crystal eye protectors, for example) and pseudo-pedantic discussions about optics, clocks and cycling designs. / Although everything about this novel is original--plot, style, illustrations--it tips its hat in passing to some of those who have gone before: Beckett's Malone Dies and Molloy, and the narrators of "At Swim-Two-Birds" and "Cadenza."

Boswell is Stanley Elkin's first and funniest novel: the comic odyssey of a twentieth-century groupie who collects celebrities as his insurance policy against death. James Boswell--strong man, professional wrestler (his most heroic match is with the Angel of Death)-- is a con man, a gate crasher, and a moocher of epic talent. He is also the hero of one of the most original novel in years ( Oakland Tribune)--a man on the make for all the great men of his time--his logic being that if you can't be a lion, know a pride of them. Can he cheat his way out of mortality?

Edmund White / Samuel Delany Number

In this complex novel, a gay man who has fled the violence of the city for an island retreat spends his time keeping a journal and writing stories. He invents a female alter-ego who haunts him, as does the ghost of the murderer who occupied his house in the 19th century; ultimately these hauntings are manifestations of his own psychic disintegration. Considered by many to be Dowell¿s finest achievement, Island People conveys the fragmentation that results from prolonged isolation.

A Star-Bright Lie recounts the age-old story of the young provincial who comes to New York and is dazzled and betrayed by the bright lights of Broadway, but with a few kinks to the story: the provincial in this case was gay and would later develop into one of America's finest novelists. Coleman Dowell left Kentucky for New York in 1950 and spent the next decade trying to "make it" in the big city. With the same stylish verve and searching analysis that illuminate his fiction, Dowell recounts his frustrating experiences in show biz: early success as staff composer for a TV show (to which he was recommended by Tennessee Williams); next, touted as David Merrick's "Golden Boy", a failed attempt to adapt O'Neill's Ah, Wilderness! as a musical; several other attempts at a hit on Broadway; and finally, a sabotaged venture at making a musical of Carl Van Vechten's novel The Tattooed Countess. Throughout this memoir are unsparing portraits of Williams, Merrick, Van Vechten, Isak Dinesen, and others of the period. But the real star is Dowell himself: "his paranoia, his bedeviled fascination with glamour, his lyric response to nature, his nostalgia for a Kentucky he'd fled and then reinvented, his Gothic sense of horror, his touchy pride, his passion for black men, his alienation from both heterosexual society and the two forms of gay life he'd known" (from novelist Edmund White's foreword). Illustrated with eight pages of photographs (many, including the cover, by Van Vechten).

A phantasmagorical mixture of religious mysticism and eroticism, bound up with the mythic origins of civilization, and taking in everything from shamanic art to Bach's "Art of the Fugue."

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

Collecting twenty essays written by distinguished scholars from the United States and Germany, The Holodeck in the Garden offers an informative tour of the complex interrelations between science, technology, and contemporary American literature.

Like The Best of Myles and Further Cuttings from Cruiskeen Lawn (both available from Dalkey Archive Press), At War is a collection of Flann O'Brien's columns written for the Irish Times under the pseudonym Myles na Gopaleen. Taken from the war years of 1940-45, these writings provide plenty of acerbic wit and persistent prodding of "the good people of Ireland." And in typical O'Brien fashion, no one is safe from his opinionated attacks. His oftentimes hysterical musings include discussions of theater, what it means to be Irish, ideas for alternative pubs and liquors, advice for children, and ways to improve the home.

When Papa LaBas (private eye, noonday HooDoo, and hero of Reed's Mumbo Jumbo) comes to Berkeley, California, to investigate the mysterious death of Ed Yellings, owner of the Solid Gumbo Works, he finds himself fighting the rising tide of violence propagated by Louisiana Red and those militant opportunists, the Moochers. A HooDoo detective story and a comprehensive satire on the explosive politics of the '60s, The Last Days of Louisiana Red exposes the hypocrisy of contemporary American culture and race politics.

In The Terrible Threes, Ishmael Reed proves that he is one of the most innovative voices in contemporary literature. This adventure into the world of offbeat humor and on-target social criticism is a vision of America in the not-too-distant future, a portrait of a fairy-tale gone awry. This novel begins where The Terrible Twos left off, in the late 1990s, three years after President and former fashion model Dean Clift was laughed out of office, with the nation in chaos and the White House implicated in a covert operation to rid America of surplus people and the Third World of its nuclear weapons. A blend of science fiction, folklore, history, fantasy, social satire, and all out surrealist comedy, The Terrible Threes bears Reed's distinctive voice and message. At once a threat, a promise, a prediction, and the awful truth about the land of the free and the home of the brave, the tale is wholly unforgettable. Once you've seen the world through Reed's eyes, you might never see it the same way again.

Aldous Huxley spares no one in his ironic, piercing portrayal of a group gathered in an Italian palace by the socially ambitious and self-professed lover of art, Mrs. Aldwinkle. Here, Mrs. Aldwinkle yearns to recapture the glories of the Italian Renaissance, but her guests ultimately fail to fulfill her naive expectations. Among her entourage are: a suffering poet and reluctant editor of the Rabbit Fanciers' Gazette who silently bears the widowed Mrs. Aldwinkle's desperate advances; a popular novelist who records every detail of her affair with another guest, the amorous Calamy, for future literary endeavors; and an aging sensualist philosopher who pursues a wealthy yet mentally-disabled heiress. Stripping the houseguests of their pretensions, Huxley reveals the superficiality of the cultural elite. Deliciously satirical, Those Barren Leaves bites the hands of those who dare to posture or feign sophistication and is as comically fresh today as when first published.

"Another View" examines the impact of the foreign in the context of non-native prose writing and its implications for literature in translation. Containing significant debut translations into English from such authors as Herta M?ller and Yoko Tawada, " Another View" also serves as an anthology demonstrating the potential for new directions in literary translation, heightening and tracing the originals' textuality, flow, and accent.

What can be said about the silence that precedes a poem or a story? What myths have been thought up to explain the transition from "nothing" to a work of art? And when did the "account of composition" turn into a literary genre of its own? These questions are the heart of Pablo M. Ruiz's excursion into the center(s) of literary creativity. Filled with paradoxes and parables, "Four Cold Chapters" takes in Borges, Perec, and Felisberto Hern?ndez, as well as several suggested but politely avoided doctoral dissertations, on its journey through the universe of writing (and writing about writing).

As species, and as a culture, we recognize ourselves by our capacity for possession, so that personhood is made equivalent to ownership. If, however, the way in which we imagine objects predisposes our behavior toward them, art can encourage us to reorder how we comport ourselves in a world that is not meant to be owned, that is not even meant for us. To frustrate the desolation of avarice, we must enrich our view of things, and "Making Figures" takes the reader through the writing of Virginia Woolf, both the fiction and the nonfiction, at the service of this imperative.