"The reader discovers new satisfactions with such a book. Far from the insipid savors generated by a passive fascination, the text stirs up the joys of an endless activity." Le Monde

In the late-1960s Romania, during the relative cultural thaw of the post-Stalinist period, Dumitru Tsepeneag emerged as an innovative writer of short prose and the pioneer of oneirism, a subversive theory and practice of literature that challenged not only socialist realism in particular but realism in general. By the early 1970s, following a cultural crackdown by the totalitarian state, oneirism had been banned and Tsepeneag was forced into exile in France. Short Prose, Volume 1, collects the three volumes of short stories that Tsepeneag published in Romania before going into exile: Exercises (1966), Cold (1967), and Waiting (1971), along with previously unpublished shorter texts from the same period.

A stranger takes over a role in a play, leaving the rest of the cast to ponder his motives. Two minutes into the second act, there is a knock on Nicolas Boehlmer’s dressing-room door, just as he’s smoking his last cigarette before having to go back on stage . . . and, without thinking, he says,“Come in,” still in character. He quickly finds himself bound, gagged, and stripped by a man who appears to be his mirror image: costumed in the same wig, make-up, and clothes. Nicolas is powerless to prevent his usurper from going out and playing his role—with increasingly ridiculous consequences. Is this “upstaging” the act of a depraved amateur? Sabotage by a rival? A piece of guerrilla theater? A political statement? Whatever the cause, Nicolas and his fellow actors soon find their play—and their lives—making less and less sense, as the parts they play come under assault by this irrational intruder.

Moving, fragile, and intimate, Alix s Journal is a unique testament to a great artist, lost before her time.

Dalkey Archive Press’s favorite writer of them all. “Myths do not flow through the pipes of history,” writes Viktor Shklovsky, “they change and splinter, they contrast and refute one another. The similar turns out to be dissimilar.” Published in Moscow in 1970 and appearing in English translation for the first time, Bowstring is a seminal work, in which Shklovsky redefines estrangement (ostranenie) as a device of the literary comparatist—the “person out of place,” who has turned up in a period where he does not belong and who must search for meaning with a strained sensibility. As Shklovsky experiments with different genres, employing a technique of textual montage, he mixes autobiography, biography, memoir, history, and literary criticism in a book that boldly refutes mechanical repetition, mediocrity, and cultural parochialism in the name of art that dares to be different and innovative. Bowstring is a brilliant and provocative book that spares no one in its unapologetic project to free art from conventionality.

Following the success of 2005 s Europeana: A Brief History of the Twentieth Century, Patrik Our ednik again confounds expectations with what seems, on the surface, to be a detective novel...

Juli'n R'os's latest comic extravaganza is at once a serious literary excavation and a lecture as delivered by Groucho Marx on the subject of that great (and often imposing) cornerstone of world literature: James Joyce's "Ulysses." Every book is born out of an earlier book (or books), and much as Joyce's novel unraveled Homer scene by scene, R'os's "The House of Ulysses" returns the favor, giving us the story of several bickering characters hoping to get to the bottom of Joyce's masterpiece (by force, if necessary), their conversation walking the line between a slapstick parody of the Joyce industry and a legitimate "guide for the perplexed." Focusing on each of Ulysses' characters, ideas, and references in turn, "The House of Ulysses" provides a playful, punning, ideal companion for the experienced Joycean and cautious Ulysses-procrastinator alike: one novel dreaming its way through another.

Onomastics in Contemporary Public Space aims at analysing names and name-giving from an intercultural perspective, within the context of contemporary public space. As was the case of Name and Naming: Synchronic and Diachronic Perspectives (Cambridge Scholars Publishing, 2012), the geographical areas investigated in the studies included in this volume are very diverse, referring not only to European cultural space, but also to American, Asian, African and Australian contexts. Being a collective work, the book brings together 49 specialists from 18 countries; namely Australia, Belgium, Finland, France, Germany, Israel, Italy, Japan, Malta, the Netherlands, Poland, Romania, Russia, Singapore, South Africa, Spain, the United Kingdom and the USA. Thematically, the volume is organised so that it may cover all the dimensions of public space, as far as onomastics is concerned. The specific areas studied are: the theory of names; names of public places (linguistic landscapes); names of public, economic, cultural, religious and sports institutions (names of business establishments, religious institutions – places of worship – and cultural associations, as well as names in journals and magazines); names of objects/entities resulting from various processes in public space (names of foods, drinks and food brands, code names of collaborators in secret service organisations, names in literature, nicknames/bynames/pseudonyms in the world of politics, high life, art and sport, names in virtual space, and zoonyms); and miscellanea. The originality and topicality of the subject lie in the multidisciplinary viewpoint adopted in the research, in which onomastics merges with adjacent linguistic disciplines, such as sociolinguistics, psycholinguistics and pragmatics, as well as other sciences, such as history, literature, anthropology, politics, economy and religion.

In this brutal dissection of guilt, victimhood, self-hatred, betrayal, and atrocities both political and domestic, Antunes proves once more that he is the foremost stylist of his generation, a fearless investigator of the worst excesses of the human animal.

"God is said to have given humans freedom. Yet in the story of Genesis, God is a punishing father figure. Why have humans portrayed him this way? Here, a contemporary writer named Adam imagines God behaving as a good father should, seeing it is time for his children to leave home. Adam writes an account of this, and the story of his own child, Sophie, and his relationship with her. The scene moves from London to New York to Israel to Iran and Iraq. And might not God as well as Adam have a wife to take up the cause if things go wrong?"--BOOK JACKET.