Böcker utgivna av Dalkey Archive Press

Zukofsky (1904-78) is the great musician of difficulty in the American modernist band: words, in his poetry, are motes of magnetized dust swirling in light. His prose is slighter, best enjoyed on the terms of the rather precious connoisseurship it demands. The major work here is the novella, "Little," about a child prodigy modeled after Zukofsky's own violin virtuoso son, Paul (who provides an afterword here). It's a fey and airy piece, funny for its Yiddish-based names - von Chulnt, Verchadet, Dreykup (a portrait of Ezra Pound) - and its light comedy supporting the trials of art-making among the vulgarians. But story or character is less than secondary: what Zukofsky the poet stays solely interested in here are the turns in the course of any given sentence-"He saw a frail lady uppermost in mauve gauze, head wobbling at first, cheeks rouged into two small suns that with the frenzied decisiveness of a pinwheel on its stick whirred quickly past three oblivious parishoners to the seat beside him." Bagatelles. (Kirkus Reviews)

Gilbert Sorrentino is one of the most accomplished innovators in twentieth-century fiction, a position that is everywhere confirmed in this trilogy of novels, Odd Number, Rose Theatre, and Misterioso. Beginning with a series of interrogations (we never do find out why they are being conducted) about characters drawn from other Sorrentino novels and concluding with the reappearance of the same characters, Pack of Lies is Gilbert Sorrentino's testament to the supremacy of the imagination, a critique of the state of art and society, and a vicious comedy portraying a world of fraud and mayhem.

Takes on what, for most novelists, has been the most challenging of subjects: a novel directly concerned with religious beliefs.

These novels face head-on the reality of the American Indian, perhaps the last great taboo in American culture. After all of the flag-waving, the wars to protect the Land of the Free, and interventions around the world in the name of democracy, how do Americans admit, even today, that America was not discovered by Columbus and not courageously cultivated by white Anglo-Saxons? The land was invaded and a people destroyed, all in the name of religion, political freedom, and money. Against a background of New Mexico that transcends regional space, Eastlake explores race, greed, and tradition, evoking stereotypes for the sake of exploding them and laying bare an American reality that is a strange mix of pop culture, zany humor, biting satire, and a deep-seated respect for and love of the land.

Djuna Barnes Number (Review of Contemporary Fiction)

Aidan Higgins's great novel has long been unavailable, and is here reissued in a new and revised edition. "Balcony of Europe" tells the story of a young Jewish wife from San Francisco and a middle-aged Irish painter who meet in a village on the coast of Spain, beginning an affair during the coldest European winter in two hundred years--all the while surrounded by a cast of characters as bizarre and hilarious as they are, finally, touching. Lyrical and humorous, heartbreaking and hopeful, "Balcony of Europe "is Aidan Higgins's crowning achievement.

Two men meet in an airport men's room ("Excuse me. But you're pissing on my foot.") sometime in the early 1990s in the Arabian Gulf. From this meeting, they proceed to get a bit drunk on bad liquor, discover a magical hidden room, get transported back to the Ireland of the late 1940s and '50s, rummage through memories of their days at Trinity College (though they apparently never knew each other), and fumble about like Laurel and Hardy trying to make a degree of sense of what's happening (or did happen) to them. As oblique and deliciously Irish as Joyce and Beckett, and drawing upon the time warps of Flann O'Brien, Bernard Share has composed an hallucinatory and comic romp through Ireland past and present.

First published in 1966, revolving musically around three separate identities and the idea of identity itself, Mr. Share's novel can, perhaps, be best described as a metaphysical farce.

Told that he recently attempted suicide, a man awakens in an insaneasylum with no memory of his actions, or even of his own name...

"Celine's mastery in creating one of the truly cathartic experiences of contemporary literature is indisputable." Saturday Review

"(A) major figure in contemporary African American letters." Henry Louis Gates

A woman's sexual awakening is a tragedy when the woman is married to someone other than the man who awakens her. But until then, her marriage, now doomed, was a sleepwalker's tragedy. This novel will shock and offend some readers. Unapologetically explicit in its language, extreme in some of the acts it catalogues, it makes no pretense of submission to middle-class decency, let alone to expectations of happy endings. All three people in this love triangle are flawed, damaged, human. Things fall apart, and the resolution is unclear. Why does she do it? Why should we read it? The answer is one word: Ecstasy. Micheline Aharonian Marcom has a genius for language that is not only beautiful in and of itself, but also engages the heart. Lusher than Marguerite Duras, more tender and erotic than Cormac McCarthy, but nearly as dark, this is a narrative masterpiece.

The tale is simple, if grim: a disenfranchised teenage boy from the housing projects on the outskirts of Paris rapes and murders the manager of the supermarket where his mother works. But Gerard Gavarry is a writer who knows how literary inventiveness can shed new light on a serious subject, and Hoppla! tells its story three times, in three separate sections, each in a different tone or mode and with different sets of images and vocabularies. The first relies on tropical images and the characters speak in a lexicon borrowed from the coconut industry--as if the Parisian suburbs had been transported to an exotic shore; the second is nautical in nature; the third invokes the mythology of the centaur, and ancient Greece butts up against modern-day France. Gavarry's bloody and poetic narrative takes dead aim at the social, political, and personal roots of violence, and argues for the transformative power of fiction.

Based on the life of Post-Impressionist painter Paul Gauguin, Jacques Jouet's "Savage" compels the reader to ask whether it is the primitive or the civilized man who is savage. At the height of the Belle ?poque, an eccentric young clothing designer searches for inspiration and identity as an artist among the "savage" peoples of France's colonies. Influenced by several exotic lovers, a quirky "vieille" dame, and ?douard Manet himself, Paul's increasingly unconventional designs parallel his increasingly unbalanced state of mind as he struggles to find a market for his work among the haute bourgeoisie. The failure of this venture, coupled with psychosis due to an untreated illness, ultimately leads to his demise.

This issue publishes short stories by Catalan's most exciting contemporary writers, providing readers a unique opportunity to view both the life and art of Catalonian culture.

In 1990, the same year as Things in the Night, Unt published a second novel, Diary of a Blood Donor, which displays the usual Untian mixture of fact and fiction, and takes one of the most sacred names in Estonian literature in vain. Lydia Koidula (1843-1886) is widely regarded as the first Estonian woman poet of significance, and also as the first poet to express an Estonian longing for independence. Here, Unt rather blasphemously weaves this national icon and her Latvian doctor husband into a postmodern tale of vampires and a mysterious trip to Leningrad.

Devastated by the death of his young wife, Alix, the author conceives a project that will allow him not only to continue writing, but to continue living - writing a book that leads him to confront his terrible loss as well as examine the lonely world in which he now seems, increasingly, to exist: that of Memory. The Loop finds Roubaud returning to his earliest recollections, as well as considering the nature of memory itself, and the process - both merciful and terrible - of forgetting. By turns playful and despairing, The Loop is a masterpiece of contemporary prose.

Since his first novel was published in 1985, Richard Powers has assembled a body of work whose intellectual breadth and imaginative energy bears comparison with that of any writer working today. Intersections: Essays on Richard Powers pays tribute to that achievement by collecting seventeen essays--written by leading literary critics, philosophers, and a novelist--each of which offers important insights into Powers's narrative craft and the intellectual grids that underlie his work. Powers's novels are distinguished by both their multiple narrative forms and their sophisticated synthesis of diverse fields of knowledge; to attempt to adequately address this range, the contributors to this volume mix their study of Powers's narrative innovations with eclectic interdisciplinary perspectives, which range from photography and systems theory, to ecocriticism and neuroscience. The volume concludes with an essay by Powers himself, that explores his philosophy of the novel.

This bitterly funny memoir reads like an expose of the power structures in America s higher education system: who s got it, how they re abusing it, what everyone else is willing to do to get it, and the social cost of doing educational business this way.

When French mafioso Oscar Lux saved Clovis Baccara from killing himself, he became the boss and something of a mentor to Clovis. Twenty years later, it is no surprise that Clovis is named best man when Oscar decides to settle down and get out of the business. Fulfilling his role as second-hand man, Clovis is entrusted with the job of guarding Oscar's new bride when Oscar is taken into police custody for embezzlement and racketeering on the day after his wedding. Alone on his boss's honeymoon in Los Angeles with Oscar's incredibly attractive new wife, Clovis tries his hardest to adhere to the one rule he has given himself, the rule which gets harder to heed as each moment passes: do not touch.

Here is a book about a man, supposedly a writer, who tries to write a novel, because he promised his readers he would. But he doesn't have anything to say. He keeps erasing what he writes, and rewriting it, without having the slightest idea where he's going with it. Soon enough he realizes that looking out of the window, sitting in front of his typewriter, describing anything and everything, is not enough to write a novel. His three friends, Edmond, Edgar, and Edouard, will aid him in his task... Pigeon Post will be the second book Dalkey Archive has published by the Romanian writer Dumitru Tsepeneag (after the critically acclaimed Vain Art of the Fugue), and we will be publishing more of his works in the years to come.

Paradoxes of Peace continues the meditation of Mosley's Time at War, at the end of which he wrote that humans find themselves at home in war because they feel they know what they have to do, whereas in peace they have to discover this. But what should inform them--custom? need? duty? ambition? desire? Forces pull in different directions--fidelity versus adventurousness, probity versus fun. During the war, Mosley found himself having to combine fondness for his father, Oswald Mosley, with the need to speak out against his post-war politics. In times of peace, his love for his wife and children, too, seemed riddled with paradoxes. He sought answers in Christianity, but came to see organized religion as primarily a social institution. How does caring not become a trap?