Bøger udgivet af Dalkey Archive Press

The ugly side of superheroesWhat if you suddenly had superpowers? What would you do? How would your friends and family react? What would your obligations to society be?The superheroes’ first missions— combating terrorists or rescuing disaster victims— are a boon to France. Yet while these actions bring the country pride, unity quickly starts to unravel. These superheroes, ultimately, are human. Paparazzi are everywhere. One has an affair with another’s wife. Another questions following the government’s imperialist agenda. Meanwhile the public carps on social media. Molia takes our fascination with superheroes and adds a cutting portrayal of contemporary social mores to create an entertaining and disturbing work with deep dystopian underpinnings.

Sally Mara’s Intimate Diary, dating from 1950, is exceptional; a salacious, black humorous andmeaningful story by the influential and erudite French novelist, Raymond Queneau. When ‘Sally Mara’begins her diary in January 1934, she is 17 years old and lives with her mother, older brother andyounger sister in south central Dublin. The everyday language is, of course, English, but she is writingin ‘newly-learned’ French to impress her beloved and just departed French tutor, a professional polyglotlinguist. To impress him even more, she decides to learn Irish in order to write a novel of some kind inIrish. However, the action throughout is determined by Sally’s resolution to overcome her ignorance ofthe mysteries of sex and reproduction. The often sensual and dark humour of Sally Mara’s Journal intime is founded on language andlanguages, so this translation, while prioritizing clarity, aims to maintain ‘Frenchness’, tinged of coursewith Dublinese. Surprisingly, for a French author, Irish words and phrases occur throughout; these arenot translated but, like some challenging French phrases, are supported by footnotes.In 1949, when Raymond Queneau wrote Journal intime, published anonymously under thepseudonym Sally Mara, he was, as always, greatly influenced by James Joyce and fascinated by thelimitations of language. He was also in need of the ready money provided by Éditions du Scorpion,publishers of erotic and violent pulp fiction, and of Journal intime.

The narrator of Montano’s Malady is a writer named Jose who is so obsessed with literature that he finds it impossible to distinguish between real life and fictional reality. Part picaresque novel, part intimate diary, part memoir and philosophical musings, Enrique Vila-Matas has created a labyrinth in which writers as various as Cervantes, Sterne, Kafka, Musil, Bolaño, Coetzee, and Sebald cross endlessly surprising paths. Trying to piece together his life of loss and pain, Jose leads the reader on an unsettling journey from European cities such as Nantes, Barcelona, Lisbon, Prague and Budapest to the Azores and the Chilean port of Valparaiso. Exquisitely witty and erudite, it confirms the opinion of Bernardo Axtaga that Vila-Matas is “the most important living Spanish writer.”

Razor-sharp social commentary, Jane Austen for contemporary feminists unafraid to confront a dark worldIn her latest translated volume of collected short fiction, Rumena Bužarovska delivers more of what established her as “one of the most interesting writers working in Europe today.” Already a bestseller across her native Macedonia, I’m Not Going Anywhere is an unsentimental and hyperrealist collection in which Macedonians leave their country of origin to escape bleakness—only to find, in other locales, new kinds of desolation in theses dark, biting, and utterly absorbing stories.

A Spanish-gothic version of a Patricia Highsmith novel Jon and Katharina spend the winter in Jon’s childhood home on the Cantabrian coast, lonely and bored, ambivalent about their precarious freelance jobs and disconnected in their relationship. Yet the couple’s routine will soon be disturbed when one rainy night, they witness strange lights in the sky over the village. The next morning, ufologists begin to arrive in the village, anxious to make extraterrestrial contact. The morning brings other unexpected guests: Jon's distant cousin, Markel, and his companion, the silent, alluring Virginia. The visit becomes increasingly uncomfortable as—like the ufologists camped out in view of the house—the strangers stay on and show little sign of planning to leave. Days stretch into weeks, even as the cousins can't remember ever having met, Virginia’s behavior becomes subtly threatening, and Jon begins doubt that Markel is who he says he . . .  A deliciously tense and darkly humorous novella that explores the border that separates love from routine and offers a twist on theme of “the other” and how to live with the unknown, The Strangers introduces English readers to singular talent.

A rumination on authority and its limitations, about what we think we know - and the spaces in between. In Confessions of Narcissus, Scully suggests that our demand for narrative coherence is one of the things that makes our lives so difficult to bear, that when William Hazlitt declared, "It is we who are Hamlet", he was telling us something about Shakespeare’s universality that is worth considering: Hamlet does not just give voice to our own fears and anxieties, he also calls them into being. In the process of trying to find cures for ourselves, that is to say, we become creators, to some extent, of our own misfortunes. Confessions of Narcissus builds from the idea that stories are what we require and also (partly) what we suffer from. In this series of observations and aphorisms about literature and life, Scully makes the case that uncertainty isn't an ailment that we should necessarily try to overcome. Following in the tradition of Keats and others, uncertainty may be something that we have good cause to be more curious about, that uncertainty has artistic merit and is a state of being that we might even come to enjoy.

As if Borges wrote The DecameronDuring an atomic alarm in Barcelona in the year 2025, the thirty-year old hero takes refuge in a luxurious mansion in the mountains where he is put up, along with other guests, awaiting the outcome of the conflict. For the following seven days the residents of the mansion spend their spare time reading and taking walks , and, above all, telling stories to each other. The narrators (most of whom belong to the generation thirty years older than the hero's) are eight in number, and the stories they tell can be taken as autonomous ones, although, as the novel advances, it may soon be that when juxtaposed, they do indeed weave a web of intrigue about a family of bankers—a web that gradually involves some of the guests in the mansion.

Aldous Huxley's lifelong concern with the dichotomy between passion and reason finds its fullest expression both thematically and formally in his masterpiece Point Counter Point. By presenting a vision of life in which diverse aspects of experience are observed simultaneously, Huxley characterizes the symptoms of "the disease of modern man' in the manner of a composer—themes and characters are repeated, altered slightly, and played off one another in a tone that is at once critical and sympathetic.First published in 1928, Huxley's satiric view of intellectual life in the '20s is populated with characters based on such celebrities of the time as D. H. Lawrence, Katherine Mansfield, Sir Oswald Mosley, Nancy Cunard, and John Middleton Murray, as well as Huxley himself. A major work of the twentieth century and a monument of literary modernism, this edition includes an introduction by acclaimed novelist Nicholas Mosley (author of Hopeful Monsters and the son of Sir Oswald Mosley).Along with Brave New World (written a few years later), Point Counter Point is Huxley's most concentrated attack on the scientific attitude and its effect on modern culture.

small pieces is a collaboration between novelist, Micheline Aharonian Marcom, and writer and visual artist Fowzia Karimi, pairing Marcom’s short stories, or “miniatures” as Marcom calls them—prose pieces of one page or less—with watercolors done by Karimi. The work is a conversation between two artists in text and image, side by side.

Hilda Doolittle operates primarily as a mythopoetic writer, rewriting the eternal dramas of myth into self-knowledge. She showcases female characters acting as Promethean boundary makers, speaking a newlanguage into being. H.D.'s Dramatic Poetics illuminates how the creation of theatrical work functions as animportant imaginative gateway, or portal, in the discovery of new poetic forms. It seeks, moreover, toenlarge feminist critical discussions of how a feminist visionary like H.D. contributes to what femalenarratives sound like both in lyric and theatrical traditions.

Widely regarded as Sorrentino's finest achievement, Mulligan Stew takes as its subject the comic possibilities of the modern literary imagination. As avant-garde novelist Antony Lamont struggles to write a "new wave murder mystery," his frustrating emotional and sexual life wreaks havoc on his work-in-progress. As a result, his narrative (the very book we are reading) turns into a literary "stew" an uproariously funny melange of journal entries, erotic poetry, parodies of all kinds, love letters, interviews, and lists—as Hugh Kenner in "Harper's" wrote, "for another such virtuoso of the List you'd have to resurrect Joyce." Soon, Lamont's characters (on loan from F. Scott Fitzgerald, Flann O'Brien, James Joyce, and Dashiell Hammet) take on lives of their own, completely sabotaging his narrative. Sorrentino has vastly extended the possibilities of what a novel can be in this extraordinary work, which both parodies and pays homage to the art of fiction.

Proving himself yet again a master of every form, Barth conquers in his latest the ruminative short essay—“​​jeux d’esprits,” as Barth describes them. These mostly one-page tidbits pay homage to Barth’s literary influences while retaining his trademark self-consciousness and willingness to play.

In a small village on the southern coast of Crete, the narrator meets a young man who tells him a history of his journey which took him from Prague as far as to the Libyan sea. It is a voyage to uncover mysterious deaths of two brothers: one was murdered during the ballet performance, the body of the second one was found by Turkish fishermen at the Asia Minor shores. On the move, the amateur detective is accompanied by one of the brothers´ girlfriend. They have to work out a lot of traces, clues and rebuses – seemingly meaningless clusters of letters in the picture of a Hungarian painter, fragments of words created in the sea by bodies of phosphorescing worms, puzzling shapes of jelly sweets found in a small shop in Croatia or the plot of an American sci-fi thriller movie, which the protagonists watch in the cinema in Rome suburb. Such leads send the heroes from town to town, the plot takes part on night trains and many places in Europe - in Bratislava, Budapest, Lublan, on the islands of Mykon and Crete… With the search for the murderer of both the brothers many other stories are interconnected, and they take the readers to even more distant places of the Earth: Moscow, Boston, Mexico City…

A National Book Award winner, this bawdy, comic trio of novellas finds John Barth injecting his signature wit into three tales many times told: that of Scheherazade, storyteller of the Thousand and One Nights; of Perseus, slayer of Medusa; and of Bellerophon, rider of Pegasus and slayer of the Chimera.

A Gogolian nightmare from the point of view of a small-town English professor.The Mad Diary of Malcolm Malarkey is a kind of post-modern May-December black comedy about the 60ish, cancer-stricken Oxford educated, Irish English literature professor, Malcolm Malarkey who falls in love with the beautiful, 30ish Italian returning graduate student, Liliana Liliano, who, by then, has tragically lost her husband in an auto accident. Malarkey has no respect for things that are politically correct and often runs into problems with the administration if not the local police, while Liliana. after years of trying to crack the glass ceiling, quits the corporate world and returns to university to pursue her passion: literature.  After a relatively quick relationship they fall in love. Though they have much in common and they truly love each other, the potential stumbling block for them is her desperation to get pregnant, especially since she has already had a miscarriage not long before her husband died.  Malarkey has already raised a family, and is still ceaselessly harassed by his Brazilian ex and her bevy of blood-sucking barristers, and the thought of starting a family again and potentially leaving Liliana a widow for a second time with a young child, is a major dilemma for him. Try as he might to salvage the relationship, Malarkey eventually loses Liliana because of his multiple impotencies. Though Malarkey loves Liliana deeply, madly, she eventually breaks it off. True love may last forever, but eggs do not. Months after her separation, Liliana meets and marries a Florentine who, in rapid succession, impregnates her with the children she most desires. Though Malarkey realizes the break was the best for her, it wasn’t for him and he tries in earnest to move on with his feckless existence, but not before telling her he’ll love her forever.

To Kill a Serpent in the Shell dramatizes the final year of Tsarevna Sofia's regency, interrogating Russia's history while subtly confronting the Russia of today. The play, both a riddle and a fantasy, depicts the political rivalry between the regent and her lover, Vasili Golitsyn, on the one hand, and the young Tsar Peter on the other.The regency's incipient humanism, espoused in Golitsyn's consideration for the well-being of the Russian people, conflicts with the autocratic leanings of the young Tsar Peter. Boris Akunin shows us a pivotal time in Russian history, immediately preceding the reign of Peter the Great, and invites us to imagine what future rulers of Russia might have been like if the events of 1689 had had a different outcome.

From the man Arturo Pérez-Reverte has called “the most talented young Russian author” comes this extraordinary family saga, a journey into the depths of the human soul.The Round-dance of Water is a detailed portrait of three generations of a large family, but in this story there is no division into primary and secondary characters: each individual fate carries its weight and runs into the bloody river of the twentieth century. The novel drifts between years, tones, and styles, and the range of its influences is overwhelming, ranging from Rudyard Kipling to Andrei Platonov and Daniil Kharms, from gangster movies to Japanese anime.

"Here is the great Irish novel of Berlin, way back before the Wall came down. Dallan Weaver, a writer and professor who's been fãeted and flattered but has seen better days, has come to the great divided city as a guest of DILDO (Deutsche-Internationale Literatur-Dienst Organization). On arriving, Weaver's life immediately begins to fall apart. Women fight over him. He is not always in the soberest state of mind. Moving from relatively conventional narrative to deliriously long lists, incorporating everything from children's drawings to minute recollections of dreams, Lions of the Grunewald is--in the author's own words--a "missionary stew," marvelously served up in Aidan Higgins's inimitable style."--

An eminently poetic book, Langrishe, Go Down (Higgins's first novel) traces the fall of the Langrishes¿a once wealthy, highly respected Irish family¿through the lives of their four daughters, especially the youngest, Imogen, whose love affair with a self-centered German scholar resonates throughout the book. Their relationship, told in lush, erotic, and occasionally melancholic prose, comes to represent not only the invasion and decline of this insular family, but the decline of Ireland and Western Europe as a whole in the years preceding World War II. In the tradition of great Irish writing, Higgins's prose is a direct descendent from that of James Joyce and Samuel Beckett, and nowhere else in his mastery of the language as evident as in Langrishe, Go Down, which the Irish Times applauded as "the best Irish novel since At Swim-Two-Birds and the novels of Beckett."

Originally published in 1968, The Secret Crypt is a cult classic of Mexican literature, waiting to be rediscovered.

A young writer has his heart set on his aunt's large apartment. With this seemingly simple conceit, the characters of The Planetarium are set in orbit and a galaxy of argument, resentment, and bitterness erupts. Telling the story from various points of view, Sarraute focuses below the surface, on the emotional lives of the characters in a way that surpasses even Virginia Woolf. Always deeply engaging, The Planetarium reveals the deep disparity between the way we see ourselves and the way others see us.

From Museum of Modern Art editor Emily Hall, a debut novel in the first person about the place of art and the artist in the world.

And so begins the HooDoo Western by Ishmael Reed, author of Mumbo Jumbo and one of America's most innovative and celebrated writers. Reed demolishes white American history and folklore as well as Christian myth in this masterful satire of contemporary American life.In addition to the black, satanic Loop Garoo Kid, Yellow Back Radio Broke-Down features Drag Gibson (a rich, slovenly cattleman), Mustache Sal (his nymphomaniac mail-order bride), Thomas Jefferson and many others in a hilarious parody of the old Western.

Along with one or two books by James Joyce, Flann O'Brien's At Swim-Two-Birds is the most famous (and infamous) of Irish novels published in the twentieth century.A wildly comic send-up of Irish literature and culture, At Swim-Two-Birds is the story of a young, lazy, and frequently drunk Irish college student who lives with his curmudgeonly uncle in Dublin. When not in bed (where he seems to spend most of his time) or reading he is composing a mischief-filled novel about Dermot Trellis, a second-rate author whose characters ultimately rebel against him and seek vengeance. From drugging him as he sleeps to dropping the ceiling on his head, these figures of Irish myth make Trellis pay dearly for his bad writing.Hilariously funny and inventive, At Swim-Two-Birds has influenced generations of writers, opening up new possibilities for what can be done in fiction. It is a true masterpiece of Irish literature.

Similarly four complete poetry books and a selection of new poems and sequences—samples the ongoing project of C. S. Giscombe’s long, long song of location and range.  In all the work collected here, location is a practice; range is the fact of the serial, the figuring of continuous arrival. The writing speaks to rivers, the souls of city life, animals, the counted and uncounted, the many instances that might indicate “a shape to all that sound,” monstrosity and argument (the latter defined, with a hat-tip to Frankenstein, as “a thing that becomes terrifying to its maker”), and the colors of human migration, these things among others.  In the “Cry Me a River” poem, Giscombe writes, "for the sake of argument, say that the shape of a region or of some distinct areas of a city could stand in for memory and that it—the shape is a specific value because it’s apparent and public, and that way achieves an almost nameless contour."