Bøger udgivet af Dalkey Archive Press

A literary magazine devoted to discussions of contemporary fiction and authors, including selections from works-in-progress and interviews, as well as a lengthy book-review section.

When Vic meets Lali, they stumble into a dysfunctional ten-year relationship that leaves him in ruins and raising a child on his own. As Vic strives to protect their daughter from the cruel truths of his relationship with her mother, he finds himself hopelessly submerged in Lali's seemingly inexplicable contradictions, and their implications concerning his own inability to move on. Huddleston Road is an honest, often brutal examination of the loneliness that results from our inability to truly know the people who share our lives-and about our need to reach out and try nonetheless.

Written between 1980 and 1986, the six stories that constitute The Lute and the Scars (as well as an untitled piece by the author, included here as "e;A and B"e;) were transcribed from the manuscripts left by Danilo Kis following his death in 1989. Like the title story, many of these texts are autobiographical. Others resurrect protagonists belonging to Kis's fellow Central European novelists, allowing readers to identify, perhaps, depending on the level of obfuscation, fantasy,and historical accuracy, figures dreamed up by Odon von Horvath and Endre Ady ("e;The Stateless"e;), by the Yugoslavian Nobel laureate Ivo Andric ("e;Debt"e;), and by Piotr Rawicz.Against a background of oppressive regimes and political exile, readers will find that the never-ending debate between death and writing continues unabated in these stories-death as allegory or as a voluntary symbolic act, and writing as the one impregnable defense, writing as the only possible means of survival.

Featuring the work of some of the greatest poets of the twentieth century as well as their contemporary counterparts, this anthology is unique in bringing together a broad selection of Switzerland 's greatest authors in all of the country 's major languages. Featuring Blaise Cendrars, Hugo Ball, Jacques Chessex, Hans Arp, Gerhard Meier, Philippe Jaccottet, Adelheid Duvanel, Arno Camenisch, Giorgio and Giovanni Orelli, Urs Allemann, Claire Genoux, and Robert Walser, among many others including some whose work has never before been available in English translation this overview of Swiss poetry stands as the ideal introduction to an undervalued and idiosyncratic force in international literature, standing at the foundations of many of the most influential literary movements, be they traditional or experimental.

In this eerie, compelling, and playful novel, a young man tormented by his feeble memory meets an elderly man, Robert, endowed with the recall of an elephant. Soon, in exchange for becoming his live-in servant, Robert agrees to allow his young protege to inherit his prodigious memory upon his death. While this might seem a fair if absurd exchange, Robert's demands become progressively more macabre, until the narrator is forced to decide what he is truly willing to sacrifice for the ability to remember. The debut novel of Bernard Comment, acclaimed author and editor, now available in English for the first time, The Shadow of Memory brings a fairy-tale premise into the modern world, where information-and its loss-can be a matter of life and death.

The second volume in Stig Saeterbakken's loosely connected "S Trilogy," Self-Control moves from the dark portrait of codependent marriage featured in the acclaimed Siamese to a world of solitary loneliness and repression.

The denizens of Kelton, New York - a bedroom community some fifty miles from Manhattan - are a well-heeled bunch who spend an awful lot of time playing rummy. There is Alice, an unfulfilled cellist, and her complacent brother Marshall, who doesn't like his friends to confide in him. There are the bumbling and overindulged Fabia and Victor, another sibling duo, and their friend Irving, a meek mama's boy. Into their cloistered lives come Claire and Nadia Tosti, two sisters from Paris, whose take-charge tactics stir the winds of enterprise, romance, and change. Through them, Alice is led to a swarthy Italian who helps her orchestrate a successful restaurant business. Irving pairs up with Claire, finally winning freedom from his eccentric, cat-loving mother. Victor embraces Nadia and the antiques trade, while Fabia discovers a potential romance with Victor's French pen pal. Only Marshall finds himself eluded by love, a predicament that will lead him from the snug environs of Kelton to the crude energies of the Midwest. In bistros, galleries, bars, and theaters, the protagonists eat, drink, criticize each other, and debate the worlds of art, music, literature, life, and love.

Gert Jonke s prose ripples along like a piano etude, transcending itsmeticulously constructed sequences to transport the reader into animaginary world.

These fifteen journeys--fourteen of them within Poland--take six years, 1940-1946. The distances vary. Sometimes they are minimal, as short as a two-stop bus ride in a city, or a twenty-minute walk, and sometimes they are longer--much longer. The traveler is a young girl, who we meet at age seven. Along the way, she loses her home, her family, her name, her hair, and finally, her fear. Two things help her on her journeys during these difficult years: some lessons from her parents and a large share of luck, which never deserts her.

Returning to London from a trip to the West Indies, an aspiring writer encounters a bewitching trio of friends whose magic lies in their ability to turn any situation into fantasy. Previously out of place in the world, the narrator falls in love with the young brother-sister pair of Peter and Annabelle, as well as the older, more political Marius. Reality soon encroaches upon the foursome, however, in the form of Marius's ailing wife, forcing the narrator to confront the dark emptiness and fear at the heart of his friends' joie de vivre. In this, his second novel-written in the '50s and never before published-Nicholas Mosley weighs questions of responsibility and sacrifice against those of love and earthly desire, the spirit versus the flesh.

It is the early eighties, and the housing industry is booming. Previously unpopulated mountainous areas of the Japanese countryside are being leveled to accommodate new waves of people. Similarly, a new wave of feminism, particularly a change in attitudes toward marriage and child-rearing, is growing among the women of Japan. Both the physical and social landscapes are in flux. In her early forties, married, and childless by choice, Kyoko has no compunction about getting what she wants. But when she begins a relationship with a man who is as traditional and conformist as they come, the result is at times uncomfortable, at others comical, but ultimately fatal.Beautifully written by Taeko Tomioka, a renowned poet, Building Waves is often droll in tone, but always touching in its portrayal of a culture divided, and ultimately swept away, by ferocious waves of change.

Outside Tokyo, a tuberculosis sanatorium in the village of K has a six-bed ward that the narrator, an aspiring poet, shares with a student of linguistics and budding writer named Shiomi. After the stubborn Shiomi insists on undergoing a dangerous surgical procedure and dies in the process, two notebooks turn up in his bed-sheets. Flowers of Grass unfolds as the narrator reads them, asking himself if Shiomi's death was a sort of suicide, and learning the details of his late friend's two great loves: for a brother and sister, both of whom reject him.Fukunaga himself spent seven years recuperating from tuberculosis following World War II, and drew on his own experiences to create a fully realized portrait of a young man of fastidious intelligence and great sorrow, and how it is possible, seeing reality from the side of death and despair, to still choose life.

Milan Kundera on Marek Bienczyk's "Transparency" "The subject of transparency has always interested me; in "The Art of the Novel" I discussed it as one of the key words in my personal lexicon. Marek Bienczyk is right to give it an entire book of its own: transparency remains one of the foundational concepts of today's social imaginary, and its role never ceases to grow. These lovely pages, in which the essay brushes up against fiction, offer us more than an historical and philosophical study, but a truly existential, and thus novelistic, investigation of transparency. It's a delight." Drawing on all his resources as a novelist, cultural critic, and scholar, Marek Bienczyk peels away the layers of our contemporary obsession with "transparency," skipping across centuries and continents to piece together the genesis of our fears of deception and overexposure. Highly poignant, and transcending the genres of criticism, personal essay, and the metaphysical novel, "Transparency" is a gorgeous revelation--about our never-ending need for revelation.

"e;A little thing happened to me. Which could have just as easily happened to you. You're on vacation in a hotel with your son in a small village and you're about to go see some friends, but something holds you back, a mysterious reticence that prevents you from going to find them. Here is the novel of this reticence, small and specific, and of the fears that it instigates, little by little. Because not only are your friends not there when you do decide to go find them, but, several days later, you find a dead cat in the harbor, a black cat floating in front of you on the water . . ."e;In Jean-Philippe Toussaint's take on the detective novel, we find a man on vacation in a tiny village, where a writer named Biaggi appears to be keeping him under surveillance. To what end? Ah, but it's far more pleasant to enjoy the Mediterranean night air than to look for answers, make deductions, or get upset-isn't it?

In this collection of thematically related stories, celebrated Belgian author Francois Emmanuel shows his indebtedness to the great poetic iconoclasts of the French language not least Charles Baudelaire, after whose famous poem this book was named.

Spanning fifty years, this collection brings together stories from nineteen authors from the Republic of Georgia, offering a window onto a vibrant literary scene that has been largely inaccessible to English-language readers until now.

Adopting artist-poet Joe Brainard as its principal focus, this project presents "e;Pop poetics"e; not as a minor, coterie movement meriting a sympathetic footnote in accounts of the postwar era's literary history, but as a missing link that confounds and potentially unites any number of supposedly rigid critical distinctions (authenticity versus formalism, the "e;personal"e; versus the mechanical). Pop poetics matter, argues Andrew Fitch, not just to the occasional aficionado of Brainard's I Remember, but to anybody concerned with reconstructing the dynamic aesthetic exchange between postwar art and poetry.

Giovanni Orelli's docufictional phantasmagoria revisits a lesser-known painting by Paul Klee titled Alphabet I, which features black letters and symbols scrawled over the sports page of a newspaper reporting Switzerland's victory over Nazi Germany in the 1938 Swiss National Cup. This play of coincidences sets the stage for Orelli's encyclopedic portrait of European culture under Nazism, where a motley crew of philosopher-peasants as well as historical luminaries like Arthur Schopenhauer, Vincent van Gogh, Viktor Shklovsky, Marina Tsvetaeva, Klee himself, and the titular footballer Eugene Walaschek all meet at the local tavern and debate the significance of Klee's work.

Spanning fifty years, but with a particular emphasis on post-independence fiction, this collection features a diverse range of styles and voices, offering a window onto a vibrant literary scene that has been largely inaccessible to the English-language reader until now. With stories addressing subjects as diverse as blood feuds, betrayal, sex, drugs, and Sergio Leone, it promises to challenge any existing preconceptions the reader might hold, and make available a rich and varied literary tradition unjustly overshadowed by the other ex-Soviet republics, until now.

Considered the standard-bearer for the great Franco-Swiss literary tradition, exemplified by authors such as Jacques Chessex and C. F. Ramuz, Noelle Revaz may also remind English-language readers of Louis-Ferdinand Celine: With the Animals, her shocking debut, is a novel of mud and blood whose linguistic audaciousness is matched only by its brutality, misanthropy, and gallows humor. Narrated by the singular Paul-a violent, narrow-minded farmer whose unceasing labor leaves him with more love for his livestock than his family-With the Animals is at once a fantastically exaggerated and entirely honest portrait of masculinity gone mad. With his mute and detested wife and children huddled at his side, Paul is only roused from his regimen of hard labor and casual cruelty when a farmhand, Georges, comes to work on his property for the summer. His sovereignty seemingly threatened, an element of unwanted humanity now injected into his universe, Paul's little kingdom seems ripe at last for a revolution.

The Review of Contemporary Fiction was founded in 1981 to promote a vision of literary culturethat is not limited to the immediately popular, and to ensure that important world writers outside popular attention continue to be written about and discussed.

Presents a story of Ondine and Oscarke, a young married couple adrift in a Belgian landscape that is darkening under the spread of industry and World War I. Ondine, who "came to serve god and live," finds that she must "serve the gentlemen" instead. Oscarke, an aspiring sculptor, finds himself unsuccessfully scouring Brussels for work.

The setting of Nathalie Sarraute's Do You Hear Them? is a dinner conversation between a father and his old friend about a recently acquired pre-Columbian statue. As they discuss the merits of the piece and art in general, the father hears his children upstairs giggling. This childish mirth is barbaric and devastating to the father, for in their laughter he hears them mocking his "old-fashioned" viewpoint and the energy he wastes by collecting lifeless objects. In his mind, they have no respect for what has been of greatest importance in his life.

Perversely, but perhaps appropriately, Aidan Higgins-one of the few contemporary writers worthy of comparison with Beckett and Joyce, now celebrating his 85th year-has chosen to wait until his sight has nearly left him to assemble this collection of visual treats. A commonplace book of anecdotes and cartoons-the latter never before published, though familiar to all of Higgins's correspondents from the margins of his letters and postcards-Blind Man's Bluff is a compendium of tart and comic insights into sight itself, as well as other varied indignities: personal, historical, and literary.