Bøger udgivet af Dalkey Archive Press

Part prophecy and part erotic fantasy, this classic tale of otherworldly depravity features New York itself-or a foreigner's nightmare of New York-as its true protagonist. Set in the towers and tunnels of the quintessential American city, Alain Robbe-Grillet's novel turns this urban space into a maze where politics bleeds into perversion, revolution into sadism, activist into criminal, vice into art-and back again. Following the logic of a movie half-glimpsed through a haze of drugs and alcohol, Project for a Revolution in New York is a Sadean reverie that bears an alarming resemblance to the New York, and the United States, that have actually come into being.

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

With a name like Jacques Boucher de Cr?vecoeur de Perthes, it ought to be easy to become a hero. Yet, how to go about it? A reallife nineteenth-century paleontologist and explorer, excavated here by Christine Montalbetti to serve as her protagonist, Jacques has tried everything: fighting off pirates, writing poetry, becoming a dandy, a man of culture... all without ever quite feeling he fits the bill. At last, when Jacques decides he'll make his name by discovering evidence of early man, it seems we, his, will be treated to a novel about mankind itself--unless, of course, our putative hero gets shanghaied into a love story along the way. "The Origin of Man" is the story of one man--and all humanity--waging a war against oblivion without ever quite winning the day. It's also a comedy about being immersed in heroic and fantastical events without one's ever noticing.

"An Unending Landscape" is a subtle, humorous, mind-bending novel about the origins and fates of three different manuscripts. The first is an autobiographical sketch concerning an Estonian writer's old schoolmate, now a government official, who is trying to recruit our narrator to spy on his fellow citizens. The second, composed by the hero of the first, is a fictionalized (and far more exciting) version of these same experiences. Finally, the self-aggrandizing hero of this second story decides to write his own novel, which seems on one hand to be a plagiarism of Chekhov's "Lady With the Lapdog," and on the other to be retelling the same story we've already heard twice over--until it's no longer entirely clear whether these stories relate to one another like Russian dolls, or are three parallel versions of the same events, each no less valid than the others.

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

Carrer Marsala, which won prizes from the City of Barcelona and the Generalitat de Catalunya-neither of which Bauca 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 Bauca's work is a pungent reminder of the ways the world fails its prophets and pariahs.

A cryptic, self-negating series of notes for an unfinished work of fiction, this astonishing book is made up of ideas for characters and plot points, anecdotes and tales, literary references both real and invented, and populated by an array of fictional authors and their respective literary cliques, all of whom sport multiple pseudonyms, publish their own literary journals, and produce their own ideas for books, characters, poems . . . A dizzying look at the ugly backrooms of literature, where aesthetic ambitions are forever under siege by petty squabbles, long-nurtured grudges, envied or undeserved prizes, bankrupt publishers, and self-important critics, The No Variations is a serious game,or perhaps a frivolous tragedy, with the author and his menagerie of invented peers fighting to keep their feelings of futility at bay. A literary cousin to David Markson and Cesar Aira, The No Variations is one of the great "e;novels"e; of contemporary Latin American literature.

This collection of the definitive essays by and about the Russian Formalists is crucial to understanding the major theoretical movement of the 1920s and 1930s. Investigating the conceptualization of structure and form within literature, the Formalists affected both the creation of art during this period and the development of literary theory as a scientific discipline.

For a period of just over a year, Harry Mathews set about following Stendhal¿s dictum for writers of ¿twenty lines a day, genius or not.¿ What resulted is a book that is part journal, parts writer¿s manual, and part genius. First undertaken as a kind of discipline, the work molds itself into a penetrating reflection on daily events in Mathews¿s life, his friends, himself, and the act of writing.

In the tour de force called America, one of the tired, the poor, the huddled masses struggles upward to the penthouse of God, discovering too late he's taken the elevator marked down. Resurrected from the rubble of dreams as a messiah and accidental revolutionary, his cry for freedom echoes like a broken record as they lower him into the ground. Like a hopelessly lost coal miner, he digs on, deflating the gloom with slapstick, pensive as a clown, gathering strength for the next round.

London life just after World War I, devoid of values and moving headlong into chaos at breakneck speed - Aldous Huxley's Antic Hay, like Hemingway's The Sun Also Rises, portrays a world of lost souls madly pursuing both pleasure and meaning. Fake artists, third-rate poets, pompous critics, pseudo-scientists, con-men, bewildered romantics, cock-eyed futurists - all inhabit this world spinning out of control, as wildly comic as it is disturbingly accurate. In a style that ranges from the lyrical to the absurd, and with characters whose identities shift and change as often as their names and appearances, Huxley has here invented a novel that bristles with life and energy, what the New York Times called "a delirium of sense enjoyment!"

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.

Complementing Dalkey Archive's edition of Firbank's Complete Short Stories (published in 1990), Complete Plays makes available for the first time in one volume this inimitable British writer's three excursions into drama: The Mauve Tower (1904), a "dream play" reminiscent in language and setting of Oscar Wilde's Salome and the writings of the French symbolists; A Disciple from the Country (1907), a one-act comedy about a debutante who flirts with religion and sainthood in order to catch a husband; and The Princess Zoubaroff (1920), a three-act comedy about marriage, religion, and homosexual separatism. The latter, which has been produced in England occasionally since the 1950s, is considered to be among Firbank's major works, and yet it, like the other two plays, has not been generally available in this country until now. The plays are filled with the wit and satire for which Firbank's novels are relished; indeed, Firbank's novels relied so heavily on dialogue that the distinction between them and his plays is minimal. Consequently, those who enjoy his novels and stories - as well as those who enjoy the comic British theater tradition of Pinero, Wilde, and Coward - should welcome this collection. Steven Moore, who edited the Complete Short Stories, has written an introduction placing the plays in the context of Firbank's life.

Carole Maso's stunning, erotic fourth novel chronicles the dark, irresistible adventures of an American writer named Catherine who has come to France to live. Set into motion by a single act of abandonment-Catherine's lover of ten years has left her-she falls deeper and deeper into an irretrievable madness. With passionate abandon and detachment Catherine pursues her own destruction. Forcing the boundaries of identity and the limits of her eroticism, she enters a series of blinding sexual encounters with a poet, a fascist, a young Arlesian woman, a fireman, and three thieves. Eerily she splits herself in two so that she is both the one who watches and the one who is watched, creator and creation, author and character, as she observes herself from afar "And I would like to help her", the one who watches says, "but I can't". Finally she meets Lucien, the solitary, cynical, beautiful man with long hair who looks as though he has "stepped out of an unmade film by the dead Truffaut", and through this mysterious, doomed, bittersweet liaison Catherine makes one last attempt to halt her decline through the redemptive act of story-telling. She begins to invent the story of their lives, telling it to him half in English, half in French, joining their solitudes for a moment before losing forever her belief that the shapely, hopeful prospects of narrative make sense of expenence. "She notices how everything is given up or taken away" as she loses the power of the imagination or memory or the body to console, and finally of language to convey meaning. This mesmerizing drama of sex, betrayal, and dissolution with its shattering inevitable conclusion is played out against the dazzling backdrop of thebeautiful, indifferent Cote d'Azur in summer. Written in a dwindling lexicon with a simple, warped musicality, The American Woman in the Chinese Hat is a dark, uncompromising, seductive work of art.

Quarantine, a novel by one of Spain's most provocative writers, recounts the forty days in which, according to Islamic tradition, the soul wanders between death and eternity, still in possession of a tenuous, dreamlike body. After the unexpected death of a friend, the narrator-a writer like Goytisolo-follows her in his imagination into this otherworld where all kinds of implausible (or are they?) things occur.Meanwhile, television and radio report the 40-day war in the Persian Gulf, and images of war's destruction mingle with the narrator's vivid imagination of the torments of the underworld. Simultaneously, the narrator is writing the novel we are reading, for writing itself is a kind of quarantine where the writer withdraws from the world to wander in the otherworld of the imagination.Quarantine is thus both an exploration of the human condition and an investigation of the writing process. It celebrates friendship and denounces war with equal force, and despite the grim themes is filled with humor, shocking surprises, playful language, and love.

Nothing is pure or sacred in "Muzzle Thyself." If it hasn't rubbed up against something or isn't sweating, it's of little concern to Lauren Fairbanks. Literary fragments, "found materials," are organized in such a way as to appear unliterary. The narrative line breaks with authorial intrusion and other modes of interruption. Most poems end with a "slammed door" or a punchline. "Muzzle Thyself" is not lofty or nice, but it has juice. It's a created world, a world reflecting one mind. The creation is complexly unrealistic, filled with humor, rubbish, and ambiguous information.

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

Lif itself is the first book-length study in English of the great Flemish writer Louis Paul Boon. A.M.A. van den Oever begins by questioning the paradox between Boon's international reputation as a significant innovator of the novel, and the peculiarly reductive biographical interpretations regularly uttered by some of his fellow countrymen and contemporaries. She looks for answers in Boon's misinterpreted "primitive" Flemish and analyzes the so-called refined pseudo-primitive style within both the grotesque tradition (Kafka, van Ostaijen, Gogol) and the sceptical, radical tradition of Nietzsche. In addition, she offers fresh insight into Boon's character Boontje, seen by many as a diminutive for the writer himself, outlining the sublime and slightly sinister relation of this quasi-comical character to its mighty creator.

"Yasuoka s venal, youthful first-person narrators grasp at beauty and romance amid a changing Japan in these nine stories, all published in Japan in the early 1950s . . . Tyler s translation captures Yasuoka s effortless style, registering dark but delightful impressions of youth." Publishers Weekly

This book examines the first five novels of Rayner Heppenstall (1911-1981). During his lifetime, many critics cited Heppenstall as the founder of the nouveau roman, believing his debut novel, The Blaze of Noon (1939), anticipated the post-war innovations of French writers such as Alain Robbe-Grillet and Nathalie Sarratue. Since his death, however, Heppenstall's reputation has faded, and his fiction is out of print. His final novels, written during a descent into madness, were structurally simplistic and politically unpalatable, and their disastrous critical reception clouded critical judgment of his previous novels. Gareth Buckell examines the importance of technical experimentation, rather than the ideological content, within Heppenstall's earlier works, and seeks a more favorable standing for Heppenstall within our critical and cultural memory.

Mary McGlynn, Janice Galloway Thomas Cousineau, Thomas Bernhard Nancy Blake, Robert Steiner Chris Hopkins, Elizabeth Bowen