{"title":"Deep Vellum","description":"These titles are represented by Deep Vellum, an imprint devoted to representing international literature from across the world (including our home state of Texas)! Browse below for literary fiction, nonfiction, and poetry.","products":[{"product_id":"honey-i-killed-the-cats","title":"Honey, I Killed the Cats","description":"\u003cp\u003e\u003cb\u003eBy\u003c\/b\u003e\u003ca href=\"https:\/\/deepvellum.org\/authors\/dorota-maslowska\/\"\u003e \u003cb\u003eDorota Masłowska\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTranslated by Benjamin Paloff\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAn incomparably hilarious satire of modern consumer culture, with everything from personality to religion commodified, like Virginie Despentes meets \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBlade Runner.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePublication Date: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeptember 10, 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePaperback: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e9781941920824\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eeBook: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e9781941920848\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFrom bestselling, internationally acclaimed author Dorota Masłowska comes a hilarious and devastating satire of consumer culture. Set in a bizarro, all-too-real imaginarium of American pop culture, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHoney, I Killed the Cats\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e introduces us to two independent young women struggling to live the lives that television and glossy magazines have promised them. In a collision of street slang and mass-media sloganeering, Masłowska’s electrifying prose drives a propulsive story about spiritual longing in a dispirited world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMasłowska’s novel examines the ways we attempt to exist and find meaning in lives defined by what we buy. In this warped world saturated by advertising and materialism, where everything can be bought, from personality and physical traits to religion and self-fulfillment, Joanne and Farah, two very different women form a friendship both bonded in and ultimately destroyed by the manipulations of consumer culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJoanne has everything the commercials say you should want—confidence, a carefree life, happiness to excess. Farah is a self-loathing, envious, germophobic malcontent. Through a shared metaphysical dream experience that spills over into their increasingly troubled day-to-day lives, these best friends find themselves consumed by their equal-and-opposite obsessions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWidely regarded as Polish literary sensation Masłowska’s best novel yet, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHoney, I Killed the Cats\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a powerfully emotional, hilariously grotesque satire of Western consumer culture and the trends that go along with it.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Masłowska here describes a terrifying funhouse abounding with toxic friendships, ominous takes on consumerism, and grotesque moments of violence and general discomfort…The tone is broadly satirical throughout, but it’s the variety with fangs — sometimes literally.” \u003c\/span\u003e\u003cb\u003e—Tobias Carroll, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eMystery Tribune\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Dorota Masłowska is a mistress of the startling metaphor and her heroine is certainly not the stuff of chick lit.  She appears in dreams (her own and those of her friends and neighbours) pyjama bottoms dripping with blood – yes honey, she has killed the cats. And she hardly need a hero to come and save her from drowning, does she? If this gloriously strange book sounds like your sort of thing, give Benjamin Paloff’s translation a go…” \u003c\/span\u003e\u003cb\u003e—Kate Sotejeff-Wilson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Dorota Masłowska’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHoney, I Killed the Cats\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e doesn’t read like a novel, but rather a sequence of tabs on an internet browser, each one a minor digression into a deeper chaos. Written in 2012 by one of Poland’s leading young authors, Benjamin Paloff’s lively translation is distinctly 2019, as if constructed solely from a digital-era dictionary.” \u003c\/span\u003e\u003cb\u003e—Matt Janney, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Calvert Journal \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Paloff is able to preserve Maslowska’s energy and surprising wordplay in this translation, and the prose brings life to the setting in a way that energizes the story…” \u003c\/span\u003e\u003cb\u003e—Ambrose Mary Gallagher, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eMichigan Quarterly Review \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Masłowska’s latest is a sucrose-loaded simulacrum for the American monoculture, recklessly scrambling barbed sarcasm with irreverent sight gags to stupendous effect. A knives-out dissection of aesthetic vulgarity that refuses to be calmed, corralled, or otherwise contained. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHoney, I Killed the Cats\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is delightfully demented fun.” \u003c\/span\u003e\u003cb\u003e—Justin Walls, Powell’s Books at Cedar Hill Crossing\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A wild, technicolor send up of culture and consumerism.” \u003c\/span\u003e\u003cb\u003e—Caitlin Luce Baker, Island Books\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A grossly all-too-accurate satire of American consumer culture and those frantically swiping their plastic (in hopes of some kind of meaning) inside of it. Hilarious and biting. A scream.” \u003c\/span\u003e\u003cb\u003e—Traci Thiebaud, Brazos Bookstore\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Slim and ferocious, Masłowska’s novel is a wild trip from beginning to end.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“So absurdly extended—and so deranged in its detail—that it’s genuinely funny.” \u003c\/span\u003e\u003cb\u003e— \u003c\/b\u003e\u003cb\u003e\u003ci\u003eKirkus Reviews \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“She is the hope of Polish literature.” \u003c\/span\u003e\u003cb\u003e—Frankfurter Allgemeine Sonntagszeitung\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Paloff deserves to be commended. His translation is as transparent as possible, literal without being wooden, lively yet not artificially so. Maslowska’s linguistic vigor communicates itself to English-language readers so readily that we are caught up in the quick current of her prose before we even know what the book is about.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eReading in Translation\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e, Magdalena Kay\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eDorota Masłowska\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a Polish writer, playwright, and journalist. She is the recipient of the prestigious Polityka Prize for her debut novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWojna polsko-ruska pod flagą biało-czerwoną \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(Snow White and Russian Red, Grove Atlantic), published when she was just 19 years old. The book garnered massive critical acclaim in Poland, has been translated into dozens of languages, and was made into a movie directed by \u003c\/span\u003e\u003cb\u003eXawery Żuławski\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. Since then, she has written several novels and plays and has become a celebrated literary figure in Poland. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHoney, I Killed the Cats\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, her second novel to be published in English, has been adapted for stage and portions were made into a short film directed by\u003c\/span\u003e\u003cb\u003e Marcin Nowak\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. She currently resides in Warsaw.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBenjamin Paloff \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ereceived his Ph.D. in Slavic Languages and Literatures from Harvard University in 2007. He is the author of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLost in the Shadow of the Word (Space, Time and Freedom in Interwar Eastern Europe)\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Northwestern University Press, 2016), which in 2015 received the American Comparative Literature Association's Helen Tartar First Book Subvention Prize. He has also published two collections of poems, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnd His Orchestra \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(2015) and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Politics\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (2011), both from Carnegie Mellon University Press. A former poetry editor at \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBoston Review\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, his poems have appeared in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Public Space, The Paris Review, The New Republic\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and elsewhere, and he has translated several books from Polish and Czech, including works by \u003c\/span\u003e\u003cb\u003eRichard Weiner, Dorota Maslowska, Marek Bienczyk\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eAndrzej Sosnowsk\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ei. He has twice received grants from the National Endowment for the Arts—in poetry as well as translation—and has been a fellow of the US Fulbright Programs, the Stanford Humanities Center, and the Michigan Society of Fellows. He is currently a professor at the University of Michigan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35443359842467,"sku":"9781941920824","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35443359875235,"sku":"9781941920848","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/042-Honey_I_Killed_the_Cats.jpg?v=1594915906"},{"product_id":"the-love-story-of-the-century","title":"The Love Story of the Century","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy: \u003ca href=\"https:\/\/deepvellum.org\/authors\/marta-tikkanen\/\"\u003eMärta Tikkanen \u003cbr\u003e\u003c\/a\u003eTranslated by Stina Katchadourian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA classic Swedish-Finnish novel, haunting, profoundly personal, evocative novel, written in verse, dissecting one woman's fraught relationship with her alcoholic husband.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eFebruary 4, 2020\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920930\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920947\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eHailed an immediate classic of Finnish literature on its publication in 1978 and an international bestseller that has been translated into 19 languages, Märta Tikkanen’s verse novel is a haunting, profoundly evocative portrait of one woman’s fraught relationship with her alcoholic husband, inspired by the author’s own experience. In language that is as delicate as it is fierce, Tikkanen explores the depths of fear and violence that often accompany addiction and the struggle to reconcile that pain with the deep love and strength necessary to hold a family together through it all. As much a story of resilience as it is suffering, \u003c\/span\u003e\u003cem\u003eThe Love Story of the Century\u003c\/em\u003e\u003cspan\u003e is a bittersweet account of the complexities of addiction, the power of creativity, and the redemption of love.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMärta Tikkanen\u003c\/strong\u003e (b. 1935) is a Finnish-Swedish journalist, writer, and teacher. Much of her writing deals critically with gender roles and the shackles that bind women, as well as women’s liberation and the desire for self-realization. She became a central figure in the Nordic women’s movement with her novel \u003cem\u003eManrape\u003c\/em\u003e (1978), which was adapted into a 1978 film directed by Jörn Donner. She is the recipient of several awards for her work, including the Nordic Women’s Alternative Literature Prize, Finland’s State Prize for the Dissemination of Knowledge, the Swedish De Nios Grand Prize, the Swedish Academy’s Finland Prize, and Finland’s State Literary Prize. Her work has been translated into over 20 languages. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eStina Katchadourian\u003c\/strong\u003e is an author and a translator living in Stanford, California. Her most recent book is \u003cem\u003eThe Lapp King’s Daughter\u003c\/em\u003e, a World War II memoir from her native Finland based on her parents’ correspondence and her own personal memories. Her translations have won her the Pushcart Prize, the Södergran Prize and the Translation Prize of the American-Scandinavian Foundation.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e“Already a classic, this Finnish novel-in-verse is a revelation. A story of love, addiction and the power of self,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Love Story of the Century\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeels immediate and immediately relevant. Brave, visceral and a testament to the power of art to explore pain and survival.“ \u003cstrong\u003e—Mark Haber, \u003cem\u003eReinhardt’s Garden\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Tikkanen has an unusual ability to let language lightly touch the most delicate topics, to capture the expression of emotion as it is being experienced, and – perhaps, above all – an entirely unique ability to describe falling in love as fresh and new as it is to those who have just been cast under its spell.” \u003cstrong\u003e—Lisbeth Larsson, \u003cem\u003eExpressen\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Harrowing and singular, this novel charts the unsettling experience of being in a thoroughly flawed marriage, its title looming ominously over the proceedings. But then Tikkanen offers glimpses of better days, and the reader has a sense of how this particular marriage has curdled over time. It’s a haunting look at the fault lines of a relationship.” \u003cstrong\u003e—\u003cem\u003eWords Without Borders\u003c\/em\u003e, Tobias Carroll\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Told in verse, The Love Story of the Century is a powerful and intimate portrayal of a woman’s complex relationship with her alcoholic husband. Each word, each phrase has so much weight, so much consideration and nuance to it. The translation beautifully captures all of the tenderness and rage in this smart, spare book. A modern feminist classic.\"\u003cstrong\u003e— Pierce Alquist, \u003cem\u003eBook Riot\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509305770147,"sku":"9781941920930","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509305802915,"sku":"9781941920947","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/DV_19_Love_Story_12-18-19_RGB_1.jpg?v=1597087761"},{"product_id":"dallas-spleen","title":"Dallas Spleen","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy Mike Soto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOne of three chapbooks produced as a part of Deep Vellum's Central Track Writers Project.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eAugust 30, 2019\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp\u003eThe spectacular fashion of the cloud-cover, \u0026amp; at times the profound lack of it, the way the horizon never lacks the sky. Dusk scrawling itself across the flat horizon for long, ecstatic stretches sets the table for encountering the enigma of a moment. A chair left empty for a visitor made of time, place, \u0026amp; light.\u003c\/p\u003e\n\u003cp\u003eI came across a door left open, at just the right angle for an invitation to be laid bare. Except this worked in reverse. I was the one left open. The door was my body. The light left on is inside me.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis chapbook publication is brought to you by the City of Dallas Office of Cultural Affairs through a Cultural Vitality Project grant.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eMike Soto\u003c\/strong\u003e is a first-generation Mexican-American writer raised in East Dallas and in a small town in Michoacán, who received his MFA in Poetry from Sarah Lawrence College. His debut chapbook, \u003cem\u003eBeyond the Shadow’s Ink,\u003c\/em\u003e was published by Jeanne Duval Editions in 2010. His debut book-length work of poetry, \u003cem\u003eA Grave is Given Supper\u003c\/em\u003e, will be published by Deep Vellum in summer 2020.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Chapbooks","offer_id":42778165936377,"sku":"20022","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/Dallas_Spleen_FC.png?v=1596661519"},{"product_id":"girls-lost","title":"Girls Lost","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy \u003ca href=\"https:\/\/deepvellum.org\/authors\/jessica-schiefauer\/\"\u003eJessica Schiefauer\u003cbr\u003e\u003c\/a\u003eTranslated by Saskia Vogel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2021 PEN Translation Prize Finalist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eAn award-winning, magical contemporary novel of three adolescent girls' friendship, exploring the transformation of bodies as a battlefield in the construction of self.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMarch 11, 2020\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920954\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920961\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eWinner of Sweden's most prestigious literary prize for young readers, \u003c\/span\u003e\u003cem\u003eGirls Lost\u003c\/em\u003e\u003cspan\u003e is a thriller featuring three teenage girls: Kim, Bella, and Momo. The three occupy a challenging limbo between childhood and adulthood, made only more difficult by the steady provocation of their malicious male classmates and pubescent bodies that are changing beyond their control. They are on the precipice of a grown-up world that seems to be broken into two groups: male and female; public and private; assailant and target. Eager to escape, the girls seek refuge in Bella’s greenhouse, a free zone where their imaginations run wild and their talents can flourish.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAfter their classmates’ violations escalate, the three friends plant a strange seed in the greenhouse, and a shimmering, magical flower blossoms. Intrigued, they drink the nectar from the flower, and suddenly find themselves transformed from girls to boys until the next morning. The three return each night to drink from the flower, anxious to explore their world — and new, older male friends — with agency and freedom. As they fall deeper into the boys’ world, they discover a new reality, one of power and violence, of gangs and drugs. When their nightly escapades turn darker, two of the teens grow wary, ready to turn back and face the reality of womanhood; but Kim is determined to see their discovery to its catastrophic, fiery end.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn this tale, the body is a battlefield, and masculinity is a drug. Brilliantly poetic and deeply poignant, this magical story was adapted into an internationally-renowned feature film exploring how we shape our identity, and how we cope with our own transformations.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp class=\"\" id=\"yui_3_17_2_1_1601670498598_587\"\u003e\u003cstrong id=\"yui_3_17_2_1_1601670498598_586\"\u003eJessica Schiefauer \u003c\/strong\u003ehas established herself as one of Sweden's foremost writers of literary young adult and adult fiction. She has won the August Prize twice for her books \u003cem\u003eGirls Lost\u003c\/em\u003e and \u003cem\u003eThe Eyes of the Lake\u003c\/em\u003e. Her books have been translated into several languages and adapted into theater and film. She has contributed short stories to the erotica collection \u003cem\u003eHot\u003c\/em\u003e (2012) and the science fiction collection \u003cem\u003eOther Ways: Ten New Utopias\u003c\/em\u003e (2015), among others. Schiefauer holds a teaching degree in Swedish, English, and creative writing. She lives in Gothenberg, Sweden.\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eSaskia Voge\u003c\/strong\u003el is from Los Angeles and lives in Berlin, where she works as a writer and Swedish-to-English literary translator. She has written on the themes of gender, power and sexuality for publications such as \u003cem\u003eGranta, The White Review, The Offing,\u003c\/em\u003e and \u003cem\u003eThe Quietus\u003c\/em\u003e. Her translations include work by leading female authors, such as Katrine Marcal, Karolina Ramqvist and the modernist eroticist Rut Hillarp. Previously, she worked in London as \u003cem\u003eGranta\u003c\/em\u003e magazine’s global publicist and in Los Angeles as an editor at the AVN Media Network, where she reported on the business of sex work and adult pleasure products. Her novel, \u003cem\u003ePermission\u003c\/em\u003e, was published by Coach House Books in 2019.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003e2021 PEN Translation Prize Finalist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Without doubt a worthy and interesting August Prize Winner.” \u003cstrong\u003e—\u003cem\u003eAftonbladet\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Surprise of the year: Girls Lost \/… \/ Completely unexpected and well executed.” \u003cstrong\u003e—\u003cem\u003eSmålandsposten\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Brave fantasy with existential questions \/… \/ Well done to Jessica Schiefauer for not choosing the simple way.” \u003cstrong\u003e—\u003cem\u003eSydsvenskan\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The style is unadorned, with powerful metaphors. The language is hard and soft; aware of the ferocity of a flower.” \u003cstrong\u003e—\u003cem\u003eDagens Nyheter\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“In a glowing and contemporary saga about love, death and rebirth [Jessica Schiefauer] helps her three teenage Orlando characters free themselves and explore the limits of the self. Together, and on their own, the three characters explore their genders, their bodies and their desires, beyond established boundaries. During the day they are “the girls”: the maladjusted, the exposed, the constantly observed. When night falls they become “the boys”: the anonymous observers. \/… \/…the borders of existence are – and must be permitted to be – so much larger than the volume restricted by the skin.” \u003cstrong\u003e—\u003cem\u003eExpressen\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“I’m super excited about it… This is going to be one of those power-packed little books.” \u003cstrong\u003e—\u003cem\u003eInk and Paper Blog\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eGirls Lost \u003c\/em\u003eis captivating as its three leads explore the universal challenges of teenage angst, conflicts between perception and reality, and the power of another’s gaze to free or entrap you.” \u003cstrong\u003e—\u003cem\u003eForeword Review, \u003c\/em\u003eKristen Rabe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A powerful novel about gender, sexuality and power relations that will have you turn page after page without even realizing it. Thanks to Saskia Vogel, the poetic and empathetic voice of this novel has found its way into the English version.” \u003cstrong\u003e—Book of the Week, \u003cem\u003e24symbols\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“While its plot is relatively easy to summarize—three teenagers discover that a mysterious plant can change them from boys to girls—Jessica Schiefauer’s \u003cem\u003eGirls Lost \u003c\/em\u003edoesn’t avoid the complexities that could arise from such a scenario. The ways in which desire and identity converge within the pages of this book have the power to haunt, even as the narrative moves forward at a rapid pace. It’s a page-turner that lingers.” \u003cstrong\u003e—\u003cem\u003eWords Without Borders\u003c\/em\u003e, Tobias Carroll\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGirls Lost\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is probing, prodding, asking questions, mulling, considering, debating. It doesn’t have an agenda; it’s a curious tale that simply wants us to consider the borders that have been built around sex, gender, and sexuality, and the politics and laws and rules and traditions and personalities that have been cultivated by these borders.\" \u003cstrong\u003e—Will Heath, \u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eBooks and Bao\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508686160035,"sku":"9781941920954","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508686192803,"sku":"9781941920961","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/DV_19_Girls_Lost_3-20-19_RGB.jpg?v=1596836364"},{"product_id":"the-hummingbird-poems","title":"El Poemario del Colibrí | The Hummingbird Poems","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy Edyka Chilomé\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOne of three chapbooks produced as a part of Deep Vellum's Central Track Writers Project.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eAugust 30, 2019\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eEdyka Chilomé\u003c\/strong\u003e is a literary arts activist, performer, and cultural worker currently based in Dallas. She is a queer child of Salvadorean and Mexican migrant activists, and was raised in social justice movements grounded in the tradition of spiritual activism. Edyka holds a BA in social and political philosophy with an emphasis on social justice from Loyola University Chicago, and an MA in Multicultural Women’s Studies from Texas Women’s University where her research focused on the decolonial power of spiritual [art]ivism. In 2017 Edyka was named top 25 most influential artists in DFW by \u003c\/span\u003e\u003cem\u003eArtist Uprising Magazine\u003c\/em\u003e\u003cspan\u003e. Her play “Where Earth Meets the Sky,” produced by Cara Mia Theatre Company, was praised as 2018’s top Latinx Theatre Production in the DFW by Theater Jones Review. In the summer of 2018 Edyka was apart of Sandra Cisnero’s Macondo Writers Workshop and is currently a 2018-2019 Intercultural Leadership Institute Fellow.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn defense of memory\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eI pray to the headwaters\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eviolent encounters\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ecarving out limbs\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eexcavating tender soil\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003edesperate for the depth\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eof a living promise\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eas expansive as the sea\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap; text-align: right;\"\u003eEn defensa de la memoria\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eruego a los nacimientos\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eencuentros violentos\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etallando extremidades\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eexcavando tierra tierna\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003edesesperada por la profundidad\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ede una promesa viva\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etan ancha como la mar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis chapbook publication is brought to you by the City of Dallas Office of Cultural Affairs through a Cultural Vitality Project grant.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Chapbooks","offer_id":42778166624505,"sku":"20023","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/The_Hummingbird_Poems_FC.png?v=1596663283"},{"product_id":"everything-good-is-dying","title":"EVERYTHING GOOD IS DYING","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy Fatima-Ayan Malika Hirsi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOne of three chapbooks produced as a part of Deep Vellum's Central Track Writers Project.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003eAugust 30, 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eFatima-Ayan Malika Hirsi\u003c\/strong\u003e is the founder of Dark Moon Poetry \u0026amp; Arts, a monthly series spotlighting the creative feminine and non-binary POC energies of North Texas. She can often be found on sidewalks using her typewriter to birtho poems for strangers or in classrooms unlocking the imaginations of children. She has been published in \u003cem\u003eThe Texas Observer, Entropy, The Boiler, Anthropology Now!\u003c\/em\u003e, and elsewhere. Her work has been featured by WFAA, KERA, the \u003cem\u003eDallas Morning News\u003c\/em\u003e, and others. Her first chapbook, \u003cem\u003eMoon Woman\u003c\/em\u003e, was published by Thoughtcrime Press in June 2018. \u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMake a map a poem\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDraw in pencil so glory can be erased\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eon paper as space tucks atoms\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003einto a time capsule\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eNo one will remove its top\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe will be fuzzy in God’s memory\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ea dream She had and can’t quite remember\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ea wolf in a fairytale\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ebut which one\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis chapbook publication is brought to you by the City of Dallas Office of Cultural Affairs through a Cultural Vitality Project grant.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Chapbooks","offer_id":42778167836921,"sku":"20024","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/Everything_Good_is_Dying_FC.png?v=1596661220"},{"product_id":"black-forest","title":"Black Forest","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Valérie Mréjen\u003cbr\u003eTranslated from the French by Katie Shireen Assef\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eA book of mourning told through a coolly evocative series of life (and death) vignettes, from a lauded French writer, now in English for the first time; \u003cem\u003eSix Feet Under\u003c\/em\u003e meets George Perec.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e October 15, 2019\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e: 9781944700904\u003cbr\u003e\u003cstrong\u003eeBook\u003c\/strong\u003e: 9781646050215\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eA man decides he is old enough. A woman returns early from a lovers’ retreat to a bottle of pills at home. And how should you explain the nuances of contemporary Paris to your mother, twenty-five years dead? Valérie Mréjen's \u003c\/span\u003e\u003ci\u003eBlack Forest\u003c\/i\u003e\u003cspan\u003e is a book of mourning that isn’t morbid or sentimental, but rather an elegant and wryly humorous brace against the void. With a paradoxically detached intimacy, Mréjen follows death’s dark and twisted path through the lives it touches, wringing out every possible meaning—or non-meaning—along the way. A writer at the height of her career who draws comparisons to Georges Perec and Nathalie Sarraute, Mréjen has cemented her status as an auteur with a singular voice, guiding us through the Black Forest of ghosts that populate her subconscious.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eValérie Mréjen\u003c\/strong\u003e is a writer, filmmaker, and mixed media artist. She has written five novels, most recently \u003cem\u003eTroisième personne\u003c\/em\u003e (2017), and exhibited widely in France and abroad, including in a solo retrospective at the Jeu de Paume gallery in Paris. She is an alumna of residencies at Villa Medici in Rome and Villa Kujoyama in Kyoto. Mréjen’s first feature-length film, \u003cem\u003eEn ville\u003c\/em\u003e, co-directed with Bertrand Schefer, was a Director’s Fortnight selection at the Cannes Film Festival in 2011, and her children’s play, \u003cem\u003eTrois Hommes Verts\u003c\/em\u003e, premiered at the Théâtre Gennevilliers in 2014. More information, including many of her films, can be found online at http:\/\/valeriemrejen.com\/folio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eKatie Shireen Assef\u003c\/strong\u003e is a literary translator living between Los Angeles and Arles, France. \u003cem\u003eBlack Forest\u003c\/em\u003e is her first full-length translation.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eReviews\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eNamed one of \u003cem\u003ePublishers Weekly\u003c\/em\u003e‘s Best Books of 2019\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eFinalist for \u003cem\u003eBig\u003c\/em\u003e \u003cem\u003eOther\u003c\/em\u003e's Book Award for Translation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Mréjen’s crystalline prose never grasps for sentimentality, and her meticulous, humane, and powerful volume unforgettably depicts the way the dead experience life after death in the traces they leave in the minds of the living.” \u003cstrong\u003e—\u003cem\u003ePublishers Weekly \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Filmmaker and novelist Valérie Mréjen has an eye that cuts and chisels. Nothing escapes her intuitive vigilance…With her, details are isolated and become powerful revealers of truth. Between life and death, in the tradition of Nathalie Sarraute, she seeks to write in the very place where consciousness, emotion, and reason are born, and then fade… she shows that absence can also be a form of presence.” \u003cstrong\u003e—Marine Landrot, \u003cem\u003eTélérama\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A sentence by Valérie Mréjen never pushes, rather glides along the page like on silk… Mréjen puts her finger on the wound, as delicately as possible.” \u003cstrong\u003e—Eric Chevillard, \u003cem\u003eLe Monde\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“If Valérie Mréjen were only a filmmaker, she could have been called Chantal Akerman.” \u003cstrong\u003e—Jean-Luc Douin, \u003cem\u003eLe Monde\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e[This writer] who always wields the verb with finesse and economy surprises us this time with its dark side— The subject here is death.” \u003cstrong\u003e—\u003cem\u003eElle France \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A masterful and delicate book…Mréjen approaches deeper waters and navigates them with a sensible and offbeat touch that lands her among the greats. ” \u003cstrong\u003e—A.N., \u003cem\u003el’Humanité\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The narrator of Valérie Mréjen’s \u003cem\u003eBlack Forest\u003c\/em\u003e recounts a series of deaths, offering a kind of jeweled omnibus of ways to die, in a classy, glassy prose recalling miniaturists par excellence Lydia Davis, Michael Martone, and Robert Walser – think \u003cem\u003eSix Feet Under\u003c\/em\u003e via Renata Adler’s.” \u003cstrong\u003e—John Madera, novelist and editor of \u003cem\u003eBig Other\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“In seventy-two pages (including translator’s note), Mréjen stalks no less than great Death itself, in all its various tragic or capricious or mundane or shocking or brutal or funny guises.” \u003cstrong\u003e—\u003cem\u003eThree Percent\u003c\/em\u003e, Christopher Phipps\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eBlack Forest \u003c\/em\u003eis a sparse and elegiac novel. Its unrelenting focus on a subject we’d often prefer not to think about makes it a sort of memento mori. Through the scale and disparate passings presented, Mréjen reminds us that while for all of us the moment will come when we pass, death can be a unifying moment rather than just an alienating one. That those who succeed us will do whatever they can and push on. That wherever death might find us, there is also life.” \u003cstrong\u003e—\u003cem\u003eKenyon Review, \u003c\/em\u003eIan J. Battaglia\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003eExcerpt\u003c\/h5\u003e\n\u003cp\u003eA man is at home one afternoon. He attempts to carry out a number of actions in a particular order, focusing on their progress. His gaze is drawn to the window overlooking the street, and he takes in the people coming and going, their shoulders pulled down by various loads: bags of all sizes, overcoats, trenches. Legs carry these bodies composed and comprised of organs, some of which function better than others; legs continuously cross paths, legs march on; heads nod, ruminating over a thousand disparate things, and hair swings forward and back. Anonymous heads of hair shine in the pale, cold light of the winter sun, curling, lifting in cowlicks, fading, and becoming streaked with white strands— just a few at first, then many, if only they’re given the time and the chance.\u003c\/p\u003e\n\u003cp\u003eThe man in the apartment decides he is old enough. He takes the disco ball down from its beam and in its place ties a rope, which he likely found in the hardware section of the bric–a–brac shop not far from his building. He loops it around his neck and, standing on the stepladder, now observes the room from high up.\u003c\/p\u003e\n\u003cp\u003eSomething startles the downstairs neighbors—a noise like metal hitting a concrete floor— and they freeze.\u003c\/p\u003e\n\u003cp\u003eOn one December 31st, this man’s birthday, a family is getting ready for a New Year’s Eve party. The divorced father and his three children are invited to the house of a friend of their stepmother’s. They won’t know anyone there and fear they’ll be terribly bored. In a lavish apartment resembling the set of a TV movie, a young, newly–hired maid will have tried to add a festive touch to the decor by placing tiny baskets of artificial flowers on openwork tablecloths, tablecloths that will give the hosts occasion to meticulously recount their bargaining sessions at markets in poor countries. The absurdly low price that had been obtained through persistence will be brandished like a victory. Yet, considering the ugliness of the spoils, it will seem still too much to the eldest child, a nervous, aloof teenager who feels uneasy in this company.\u003c\/p\u003e\n\u003cp\u003eBefore heading out to the party, the family must change into nicer clothes. The outfits chosen by the youngest two aren’t chic enough: they didn’t bring with them any perfectly ironed new shirts, nor flannel trousers or little English blazers. They do not, for that matter, own such clothing, since their father hates spending Saturdays at department stores and doesn’t know of any other, more fashionable places to shop. Every now and again, he takes them to an obscure boutique in the wholesale district, where a man who smells of eau de toilette and claims to have known them since they were babies makes them try on parkas too poorly cut to look like the ones in the window display, and cheaply made shoes imitating the latest styles. They don’t dare object, and the fitting is always an ordeal. They leave with pleated pants made of itchy fabric that zip so tightly they can hardly breathe, all rolled up into plastic bags whose rigid snap–seals never close completely and whose sharp–edged handles leave red and white marks on their palms.\u003c\/p\u003e\n\u003cp\u003eAnd so it is decided that they will stop by their mother’s, who is out of town for the weekend with her lover. This is how the father refers to this man whom he doesn’t know, \u003ci\u003elover\u003c\/i\u003e, though the divorce was finalized years ago and he, too, is involved with someone new. The father has a friend; the mother sees her lover. The family drives down deserted alleys lit by gas lamps, through a wealthy neighborhood where the broad avenues are lined with hundred–year–old chestnut trees, to a duller suburb full of one–way streets. They pull up to a house and the children are asked to hurry, or so they gather from their father’s exaggerated sigh. The brother begins to insert his key into the star–shaped keyhole and senses, from the absence of pressure, that the door isn’t locked. Someone has been here before them. There’s a light on in the kitchen; the warm halo of recently installed sconces has been illuminating the white wall for several hours. On the tiled floor, they see the pieces of a broken plate.\u003c\/p\u003e\n\u003cp\u003eThey call out, wait for a response, and climb the first flight of stairs; they understand, of course, that none of this is normal. In the room at the end of the hallway, a presence awaits them: a woman who looks exactly like their mother, in a state resembling sleep, lies in a nightgown under the covers. They recognize the fake fur bedspread, the two antique nightstands perched on slender, graceful feet, the mysterious marquetry drawers inside which they’ve always hoped to find a surprise and instead only come upon little ivory or burlwood boxes containing their yellowed baby teeth split neatly in halves, or an old sewing kit—things already familiar to them. On the pillow, the waxy face appears calm, the half–closed eyes pointed toward a spot on the ceiling.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464856273059,"sku":"9781944700904","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464856305827,"sku":"9781646050215","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/043-Black_Forest.jpg?v=1596660709"},{"product_id":"sphinx","title":"Sphinx","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBy\u003c\/b\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/anne-f-garreta\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/deepvellum.org\/authors\/anne-f-garreta\/\"\u003e \u003cb data-mce-fragment=\"1\"\u003eAnne Garréta\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTranslated from the French by Emma Ramadan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eRecipient of the French Embassy's Hemingway Grant for Translation\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA landmark literary event: the first novel by a female member of Oulipo in English, a sexy genderless love story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eApril 21, 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePaperback:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920091\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eeBook:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920084\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is the remarkable debut novel, originally published in 1986, by the incredibly talented and inventive French author Anne Garréta, one of the few female members of Oulipo, the influential and exclusive French experimental literary group whose mission is to create literature based on mathematical and linguistic restraints, and whose ranks include Georges Perec and Italo Calvino, among others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA beautiful and complex love story between two characters, the narrator, \"I,\" and their lover, A***, written without using any gender markers to refer to the main characters, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a remarkable linguistic feat and paragon of experimental literature that has never been accomplished before or since in the strictly-gendered French language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a landmark text in the feminist, LGBT, and experimental literary canons appearing in English for the first time.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eNominated for the 2016 PEN Translation Prize\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eParis Review\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e Staff Pick\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFlavorwire\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's Top 50 Independent Books of 2015\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eEntropy Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's Best Fiction Books of 2015\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBookriot\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's 100 Must-Read Books Translated from French\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of the \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDallas Observer\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's \"13 Books to Read This Summer\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eFeatured in \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOff The Shelf\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's \"12 Innovative Books to Get You Out of Your Reading Rut\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIncluded in \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBustle\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's \"23 Books in Translation by Women Writers\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of Farrar, Straus, and Giroux editor Jackson Howard's Favorite Books of 2018\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Sphinx challenges automatisms, identification mechanisms, and the urgent need for gender categorization. The absence of linguistic gender acts as a mirror reflecting back the reader’s projections.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Gaëlle Cogan, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"[Garreta's] been called influential and groundbreaking, and with this, her first translation into English, it is easy to see why. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is an important contribution to queer literature—fascinating, intelligent, and very welcome.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLambda Literary\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"A unique novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e succeeds in telling a love story without names or genders, allowing the reader to interpret the novel however they wish. Set in Paris and calling to mind the work of James Baldwin, this both feminist and LGBT book is deeply evocative in its word usage as it celebrates love without the constraints of gender.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Garréta’s removal of gendered grammar is less an indictment of gender—or sign-bearing bodies—and more of a narrative challenge, a queering of language. This is also to say \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is less of a queer romance novel than it is a poetic queering of love itself.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Meghan Lamb, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Collagist\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“The set-up is such a classic, relatable tale of falling in — and out — of love that one wonders why gender has always been such a huge factor in how we discuss relationships, in fiction and otherwise. . . . So, the author, and the translator, created their own language, championing love and desire over power and difference.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Maddie Crum, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHuffington Post\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“…\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e highlights the already limiting nature of language when it comes to matters of gender, and of love.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Stephanie Hayes, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Atlantic\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“The strength of [\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e] lies in its philosophical eloquence . . . Take away gender and race from the book, and what’s left? Love, viewed as a nihilistic transcendence . . . considerably more than a language game.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Adam Mars-Jones, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLondon Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is an almost effortlessly readable, atmospheric love story, like a Marguerite Duras novel starring a pair of genderless paramours who haunt the after-hours clubs and cabarets of Paris. The conceit is so simple and so potent that it’s impossible to get too far without pondering big questions about the role gender plays in the way we think about love in literature — and in life.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Judy Berman, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFlavorwire\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“In this sense, just as the novel is genderless, it is also genderfull . . . Garréta finds endless shades of in between and out of bounds, her characters taking shapes no other text before—or since—has imagined.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Lauren Elkin, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBookforum\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Centering her tale on the love and lust of a young couple in the Parisian underworld allows Garréta to train our eyes on the physical beauty of youth, the sensuality of anonymous bodies, and our preconceptions regarding both. The bodies of je and A***, left bare of gender markers, create the need for a new, more vigilant kind of reading that involves a constant undoing of assumptions. They cry: Read yourselves, not just us.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Jane Yong Kim, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“However, the fragments that do surface from this unconscious reservoir are vividly and eloquently incarnated. This is particularly true of the prose around lights, music, and bodies—the primary elements that compose nightclubs. They are rendered in rapturous tones . . . I could go on—exquisite fragments like these are packaged in nearly every page.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—John Taylor, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Rumpus\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"The body may be divine, but it can only be seen in such close focus that individual limbs can hardly be distinguished: we are left with flesh and bone, plus a few spinning hormones.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Joanna Walsh, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe National\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Garréta’s stylistic experiment has been carried out at once boldly and discreetly — it is difficult not to be lured into the story . . . [Emma Ramadan] has skillfully brought this thought-provoking novel to the English-reading world, where it has long been overdue.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—John Taylor, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Arts Fuse\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Untethered from the genre you’ve unconsciously assigned it, the story expands. Love, like the universe has a way of doing that. And yet you sense a helplessness in the narrator to try, like you were, to pin something down.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Leah Dieterich, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Art Book Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"The biggest surprise is Anne Garréta, whose novel \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, first published in 1986, explores DJ culture, gender and sexual politics in Parisian nightclubs. The two main characters are the narrator and their lover A***...\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e (available in Emma Ramadan’s 2015 English translation) is ahead of its time, a radical bridge between Kathy Acker, the “chemical generation” authors of the 90s, and emerging innovators such as this year’s Goldsmiths prize-nominated Isabel Waidner.\"  \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Tony White, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eI never alluded to what I had so indistinctly perceived in my sleep, and neither did A***. There were always inexplicable silences between us, a sort of prudishness or reserve that kept us from broaching certain intimate subjects. We kept the evidence hidden away, even avoiding the use of expressions that seemed improper, excessive, or bizarre. A*** would never show any immoderate affection, and I was constantly forcing myself not to criticize the escapades I witnessed. Once, only once, I was weak enough to reveal my jealousy, which had been gnawing away at me. In the same vein, A*** only once slipped in showing tenderness toward me, using words and gestures that we had never before allowed ourselves to use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThis single jealous episode took place in the dressing room of the Eden where, one night, I came upon A*** in the company of a man I had seen fairly often in the wings the previous week, whom I suspected to be A***’s latest lover. Normally I pretended not to give a damn about the goings-on of A***’s libido; the number and nature of A***’s escapades were none of my business. What right did I have to be jealous, since there was nothing between us other than platonic affection? But that night I could not bear to see this lugubrious cretin, in the seat that I habitually occupied, engaged with A*** in the sort of conversation I had thought was reserved for me alone. This substitution outraged me: the idea that in my absence someone could take my place, could be the object of identical attentions. I was willing to admit that I was not everything for A***, but I refused to accept that what I was, achieved through a hard-fought struggle, could be taken over by someone else, and apparently by anyone at all. The sole merit of the lover in question was his idiocy: his inane conversation was doubtless a nice break from the thornier discussions A*** and I typically had. A*** thought he had a beautiful face, entrancing eyes, and good fashion sense. I was shocked by A***’s poor taste, by the appreciation of such an individual: an Adonis from a centerfold with a stupidly handsome face.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAnne F. Garréta\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is the first member of the Oulipo to be born after the founding of the collective. A normalien (graduate of France’s prestigious École normale supérieure) and lecturer at the University of Rennes II since 1995, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnne F. Garréta\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e was co-opted into the Oulipo in April 2000. She also teaches at Duke University as a Research Professor of Literature and Romance Studies. Her first novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, hailed by critics, tells a love story between two people without giving any indication of grammatical gender for the narrator or the narrator’s love interest, A***. She won France’s prestigious Prix Médicis in 2002, awarded each year to an author whose “fame does not yet match their talent” (she is the second Oulipian to win the award–Georges Perec won in 1978), for her book, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eNot One Day.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEmma Ramadan\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a literary translator of poetry and prose from France, the Middle East, and North Africa. She is the recipient of a Fulbright, an NEA Translation Fellowship, a PEN\/Heim grant, and the 2018 Albertine Prize. Her translations for Deep Vellum include \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnne Garréta’s\u003c\/b\u003e \u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eNot One Day\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e Fouad Laroui's \u003c\/b\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Curious Case of Dassoukine's Trousers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eBrice Matthieussent's\u003c\/b\u003e \u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRevenge of the Translator\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. She is based in Providence, RI, where she co-owns Riffraff bookstore and bar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509165883555,"sku":"9781941920091","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509165916323,"sku":"9781941920084","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/004-Sphinx.jpg?v=1597073210"},{"product_id":"red-ants","title":"Red Ants","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Pergentino José\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by Thomas Bunstead\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThis vibrant collection of short stories, the first literary translation from Sierra Zapotec, updates magical realism for the 21st century.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e November 3, 2020\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e: 9781646050192\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781646050185\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eA literary triumph by a member of the Mexico20 (the list that boasts Valeria Luiselli and Carlos Velasquez, among others), \u003c\/span\u003e\u003cem\u003eRed Ants\u003c\/em\u003e\u003cspan\u003e is the first-ever literary translation from the Sierra Zapotec. This vibrant collection of short stories by one of Mexico’s most promising young authors \u003c\/span\u003e\u003cspan\u003epaints a candid picture of indigenous Mexican life—an essential counterpoint to cultural products of the colonial gaze. José’s fantastical stories tackle themes of family, love, and independence in his signature style: unapologetically personal, coolly emotional, and always surprising.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e“José is a rising star in Mexican literature, and this collection of short fiction, which examines indigenous life in the U.S.’s southern neighbor through the lens of a contemporary magic realism, should only further his acclaim. Veteran Spanish translator Bunstead… takes José’s clean, punchy lines and makes them sing—and stick with you.\" \u003cstrong\u003e—John Maher, \u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A set of short stories in which the peculiarity and the fantasy of Zapotec popular legends are brought to life by the imaginative and powerful pen of a great author in the making—what is perhaps a true breath of fresh and original air that does our national literature much good.\" \u003cstrong\u003e—Mónica Maristain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“These stories are situated within an imaginary (of Pergentino\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eJosé making) that is consistent from one story to the next…but it is an image that is not reflected in the rest of Mexican literature. This collection is poised to become a new and encouraging contribution.” \u003cstrong\u003e—Altantl Molina, \u003cem\u003eMarvin Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan height=\"15\" data-mce-fragment=\"1\"\u003e\"These stories are teeming with life and crawling with movement. They are, like \u003c\/span\u003e\u003cspan height=\"15\" data-mce-fragment=\"1\"\u003emagical realism itself, the articulation of a lived experience that is inexplicable \u003c\/span\u003e\u003cspan height=\"15\" data-mce-fragment=\"1\"\u003ewithout the fantastic...Reading \u003cem\u003eRed Ants\u003c\/em\u003e is a visceral experience, at once exhausting and exhilarating, captivating and confounding.”\u003c\/span\u003e\u003cstrong\u003e— Samuel Miller, \u003cem\u003eAsymptote Journal\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\" class=\"TextRun SCXW55763326 BCX0\" data-contrast=\"auto\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW55763326 BCX0\"\u003e\"Immersive, yielding coolly depicted tableaux of psychic terror.” \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e—Sam Sacks, \u003cem\u003eThe Wall Street Journal \u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\"While at times in folklore some of these can be symbols of death, at others they may be good omens. In Pergentino José’s tales, they can be both—destructive and benevolent.”\u003cb\u003e\u003cem\u003e —\u003c\/em\u003eLanie Tankard, Indie Book Review Editor for\u003cem\u003e The Woven Tail Press\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eRed Ants\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Zapotec writer Pergentino José blends magical realism with the mythology of his upbringing to shine a light on the historical struggles of Mexico’s indigenous communities — and to make clear that the threats they face have not gone away….he succeeds in taking readers to a different world, one that they did not expect but will be unlikely to forget.”\u003cstrong\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cem data-mce-fragment=\"1\"\u003e—\u003c\/em\u003eMariana Reina, \u003cem\u003eAmericas Quarterly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eBiographical Note\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePergentino Jose\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e was born in 1981 in a Zapotec village in the Pacific highlands of Oaxaca. He has published poetry and prose in both Zapotec and Spanish and is a member of the Sistema Nacional de Creadores de Arte, the Mexican government's prestigious fellowship program for artists and writers. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRed Ants\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is his first book in English, and the first literary translation into English from the \u003c\/span\u003e\u003cb\u003eSierra Zapotec.\u003c\/b\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509146189987,"sku":"9781646050192","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509146222755,"sku":"9781646050185","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/redants-RGB.jpg?v=1602525934"},{"product_id":"seven-samurai-swept-away-in-a-river","title":"Seven Samurai Swept Away in a River","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Jung Young Moon \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated by Yewon Jung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eA literary meandering into the mythology of place and what a novel can be, inspired by the author’s time spent at an artist residency in small-town Texas.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eNovember 5, 2019\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920855\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920862\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eIn his inimitable, recursive, meditative style that reads like a comedic zen koan but contains universes, \u003cem\u003eSeven Samurai Swept Away in a River\u003c\/em\u003e recounts Korean cult writer's Jung Young Moon’s time spent at an artist’s and writers residency in small-town Texas. In an attempt to understand what a “true Texan should know,” the author reflects on his outsider experiences in this most unique of places, learning to two-step, musing on cowboy hats and cowboy churches, blending his observations with a meditative rumination on the history of Texas and the events that shaped the state, from the first settlers to Jack Ruby and Lee Harvey Oswald. All the while, the author is asking what a novel is and must be, while accompanied by a fictional cast of seven samurai who the author invents and carries with him, silent companions in a pantomime of existential theater. Jung blends fact with imagination, humor with reflection, and meaning with meaninglessness, as his meanderings become an absorbing, engaging, quintessential novel of ideas.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eJung Young Moon\u003c\/strong\u003e was born in Hamyang, South Gyeongsang Province, South Korea, in 1965. He graduated from Seoul National University with a degree in psychology. He made his literary début in 1996 with the novel \u003cem\u003eA Man Who Barely Exists\u003c\/em\u003e. Jung is also an accomplished translator who has translated more than forty books from English into Korean, including works by John Fowles, Raymond Carver, and Germaine Greer. In 1999 he won the 12th Dongseo Literary Award with his collection of short stories, \u003cem\u003eA Chain of Dark Tales\u003c\/em\u003e. In 2005 Jung was invited to participate in the University of Iowa’s International Writing Program and in 2010 the University of California at Berkeley’s Center for Korean Study invited him to participate in a three-month-long residency program. In 2012, he won the Han Moo-suk Literary Award, the Dong-in Literary Award, and the Daesan Literary Award for his novel \u003cem\u003eA Contrived World\u003c\/em\u003e. Deep Vellum published his novel, \u003cem\u003eVaseline Buddha\u003c\/em\u003e, in 2016.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eJung Yewon\u003c\/strong\u003e was born in Seoul, and moved to the US at the age of 12. She received a BA in English from Brigham Young University and an MA from the Graduate School of Interpretation and Translation at Hankuk University of Foreign Studies.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eFeatured as a “Book of Note” by\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAthenaeum Review\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eat The University of Texas at Dallas! (June 2020)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Who better than a Texas-based publisher of fiction in translation to champion an unusual work by a Korean writer, set in the Lone Star state?  No-one, that’s who.” \u003cstrong\u003e—Tony Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Dispassionate, subversive, ambiguous, utterly cuckoo at times, Jung Young Moon has written a short masterwork of contemporary digression, a far distant cousin to\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTristram Shandy\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1759); but also a novel that acts as an antidote to our age of distraction because it takes real presence to follow the narrator’s mind, a mind that is looking to challenge the notions of fiction — to create fiction that one might hesitate to call fiction.” \u003cstrong\u003e—\u003cem\u003eSplice Magazine \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Impressive fluidity… Like a lucid dream.” \u003cstrong\u003e—\u003cem\u003eForeword Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“An oddly entertaining stream of consciousness that flows out over the thirsty Lone Star State.” \u003cstrong\u003e—\u003cem\u003eKirkus Reviews\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“There are many novels by Western authors sojourning in Asia. Stories that go the other way around are as rare as hens’ teeth…\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSeven Samurai Swept Away in a River \u003c\/em\u003eopens a window into a non-traditional narrative prose style.” \u003cstrong\u003e—\u003cem\u003eAsian Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“It is a slim and beautiful volume. That’s important for this particular book because this is… a piece of art. This is something that you want to hold dear and treasure.” \u003cstrong\u003e—\u003cem\u003eRead the World\u003c\/em\u003e, Derek Maine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA man from Korea visits Texas and proceeds to think about everything and nothing all at once. The most fun writer working today.\" \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e—\u003ci\u003eThe Ivy Bookshop\u003c\/i\u003e, Teddy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePraise for \u003cem\u003eVaseline Buddha\u003c\/em\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Reading\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVaseline Buddha\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeels like watching a magician who explains his trick as he performs it and yet still mesmerizes you with his sleight of hand. You simultaneously enter the dream and wake from it…This resistance underpinning the entire exercise makes Jung an heir to Polish novelist Witold Gombrowicz, who understood that writing is the documentation of a dance the writer does between form and chaos.” \u003cstrong\u003e—Tyler Malone, \u003cem\u003eLos Angeles Times\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Ridiculous in the best way.” \u003cstrong\u003e—\u003cem\u003eD Magazine, \u003c\/em\u003eZac Crain\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509158969507,"sku":"9781941920855","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509159002275,"sku":"9781941920862","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/DV_19_Seven_Samurai_3-20-19_RGB.jpg?v=1597073041"},{"product_id":"life-went-on-anyway-stories","title":"Sentsov, Oleh: LIFE WENT ON ANYWAY","description":"\u003cp\u003e\u003cstrong\u003eBy Oleh Sentsov \u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eTranslated by Uilleam Blacker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003eThis timely collection of stories is by a Sakharov Peace Prize-winning Ukrainian film director, whose political imprisonment in Russia since 2014 is an international cause célèbre.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eOctober 15, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920879\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920886\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e“Through his courage and determination, by putting his life in danger, the filmmaker Oleh Sentsov has become a symbol of the struggle for the release of political prisoners held in Russia and around the world.” —Antonio Tajani, European Parliament President\u003c\/p\u003e\n\u003cp\u003eThe stories in Ukrainian film director, writer, and dissident Oleh Sentsov’s debut collection are as much acts of dissent as they are acts of creative expression. These autobiographical stories display a Tarkovsky-esque mix of nostalgia and philosophical insight, written in a simple yet profound style looking back on a life’s path that led Sentsov to become an internationally renowned dissident artist.\u003c\/p\u003e\n\u003cp\u003eSentsov’s charges seemingly stem from his opposition to Russia’s invasion and occupation of eastern Ukraine where he lived in the Crimea. He was sentenced to 20 years in prison in August 2015 on spurious terrorism charges after he was kidnapped in his house and put through a grossly unfair trial by a Russian military court, marred by allegations of torture. Many of the stories included here were read during international campaigns by PEN International, the European Film Academy, and Amnesty International, among others, to support the case for Sentsov across the world. Sentsov’s final words at his trial, “Why bring up a new generation of slaves?” have become a rallying cry for his cause. He spent 145 days on hunger strike in 2018 to urge the Russian authorities to release all Ukrainians unfairly imprisoned in Russia, an act of profound courage that contributed to the European Parliament’s awarding him the prestigious Sakharov Prize for Freedom of Thought.\u003c\/p\u003e\n\u003cp\u003eSentsov remained in a prison camp in Russia until the eve of this book's printing, published in collaboration with PEN Ukraine.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eOleh Sentsov\u003c\/strong\u003e\u003cspan\u003e is a Ukranian filmmaker and writer from Crimea, best known for his 2011 film \u003c\/span\u003e\u003cem\u003eGamer\u003c\/em\u003e\u003cspan\u003e. Sentsov was arrested in May 2014 in Crimea on suspicion of “plotting terrorist acts,” after participating in the EuroMayden demonstrations that led to the overthrow of former Ukrainian President Viktor Yanukovych and helping deliver supplies to trapped Ukrainian troops during Russia’s occupation of Crimea. He was sentenced to 20 years in prison, causing an outcry by international human rights groups who condemned his imprisonment as a fabrication by the Russian government in an attempt to silence dissent, and calling for investigations into reports of torture and witness coercion. In 2017 he was given the PEN\/Barbey Freedom to Write Award. Sentsov’s work includes several scripts, plays, and essays, as well as two short films, \u003c\/span\u003e\u003cem\u003eA Perfect Day for Bananafish\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003eThe Horn of the Bull\u003c\/em\u003e\u003cspan\u003e. In May of 2018, he went on a hunger strike to protest the incarceration of Ukrainian political prisoners in Russia. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eDr. Uilleam Blacker\u003c\/strong\u003e is an academic and translator specializing in Ukrainian, Polish and Russian literature. His translations of contemporary Ukrainian literature have appeared in numerous publications, including \u003cem\u003eModern Poetry in Translation, Words Without Borders\u003c\/em\u003e and \u003cem\u003eDalkey Archive's Best European Fiction \u003c\/em\u003eseries\u003cem\u003e.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e“One thing that makes \u003c\/span\u003e\u003cem\u003eLife Went On Anyway\u003c\/em\u003e\u003cspan\u003e especially endearing is Sentsov’s terrible sense of humor on every second page…One gets the seriousness of humor, its therapeutic and satirical roles, upon realizing that jokes have made room in the somber confines of prison walls. This is the reason why \u003c\/span\u003e\u003cem\u003eLife Went On Anyway\u003c\/em\u003e\u003cspan\u003e is a must-read testimony of the indomitable human spirit that is beyond the reach of fascist regimes. The translation of this memoir into English is a deserved celebration of this unwavering human spirit against all odds.” \u003cstrong\u003e—Shelly Bhoil, \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eAsymptote \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508769554595,"sku":"9781941920879","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508769587363,"sku":"9781941920886","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/DV_19_Sentsov_3-20-19_RGB.jpg?v=1596837337"},{"product_id":"the-golden-goblet-selected-poems-of-goethe","title":"The Golden Goblet","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy Johann Wolfgang Goethe\u003ca href=\"http:\/\/deepvellum.org\/authors\/goethe\"\u003e\u003cbr\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cstrong\u003eTranslated by Zsuzsanna Ozsváth \u0026amp; Frederick Turner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eThe Golden Goblet: Selected Poems of Goethe\u003c\/em\u003e. Vivid and lyrical, this new translation of Goethe’s selected poetry—Deep Vellum's first book of poetry!—captures the formal perfection of his style and illuminates him as a profoundly visionary philosopher, storyteller, and revolutionary.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eApril 12, 2019\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e: 9781941920794\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920800\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eThe Golden Goblet\u003c\/em\u003e\u003cspan\u003e traces Johann Wolfgang von Goethe’s poetry from the idealism of youth to the liberation of maturity. In contrast to his rococo contemporaries, Goethe’s poetry draws on the graceful simplicity of German folk rhythms to develop complex, transcendent themes. This robust selection, artfully translated by Zsuzsanna Ozsváth and Frederick Turner, explores transformation, revolution, and illumination in Goethe’s lush lyrical style that forever altered the course of German literature.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509226438819,"sku":"9781941920794","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509226471587,"sku":"9781941920800","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/041-Golden_Goblet.jpg?v=1597087429"},{"product_id":"blood-sisters","title":"Blood Sisters","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Kim Yideum\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTranslated by Jiyoon Lee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003eA woman in 1980s Korea struggles to understand her identity and live an authentic life in the face of injustice.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date:\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003eJune 11, 2019\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaperback: \u003c\/strong\u003e9781941920770\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eebook: \u003c\/strong\u003e9781941920787\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBlood Sisters\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e tells the story of Jeong Yeoul, a young Korean college student in the 1980’s, when the memory of President Chun Doohwan’s violent suppression of student demonstrations against martial law was still fresh. Yideum captures with raw honesty the sense of dread felt by many Korean women during this time as Jeong struggles in a swirl of misguided desires and hopelessness against a society distorted by competing ideologies, sexual violence, and cultural conservatism. Facing this helplessness, her impulse is to escape into the world of art. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBlood Sisters\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a vivid, powerful portrayal of a woman’s efforts to live an authentic life in the face of injustice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eKim Yideum\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, an outspoken feminist hailed as one of the greatest poets in South Korea today, whose works in translation include \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCheer Up, Femme Fatale\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e! (Action Books, 2015) and \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHysteria\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e (Action Books, 2019). Having received her PhD with a dissertation on Korean feminist poetics, she has taught at Gyeongsang National University, served as a culture columnist, and has hosted a poetry radio show. She has received numerous awards for her poetry, including the Poetry \u0026amp; the World Literary Award (2010), the Kim Daljin Changwon Award (2011), the 22nd Century Literary Award (2015) and the Kim Chunsoo Award (2015). Ms. Kim owns and operates Café Yideum, a bookstore café, in Ilsan, a satellite city of Seoul. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBlood Sisters\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, originally published to great renown in South Korea in 2011, is her debut novel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJiyoon Lee\u003c\/strong\u003e is a poet and translator whose most recent publications include \u003cem data-mce-fragment=\"1\"\u003ePoems of Kim Yideum, Kim Haengsook, and Kim Minjeong: The Collection of Contemporary Korean Poetry\u003c\/em\u003e (Vagabond Press, 2017). Her translation of \u003cstrong data-mce-fragment=\"1\"\u003eKim Yideum's\u003c\/strong\u003e book of poetry, \u003cem data-mce-fragment=\"1\"\u003eCheer Up, Femme Fatale\u003c\/em\u003e (Action Books, 2015), was shortlisted for Lucien Stryk Prize. She is also the author of \u003cem data-mce-fragment=\"1\"\u003eForeigner’s Folly\u003c\/em\u003e (Coconut Books, 2014), \u003cem data-mce-fragment=\"1\"\u003eFunsize\/Bitesize.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eReviews\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChosen as\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eAsymptote\u003c\/em\u003e's May 2019 \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.asymptotejournal.com\/blog\/2019\/06\/06\/20607\/?fbclid=IwAR1_5C6baammtplGDNANRa-eeqGLOQ1IlID8zZTQWqf1lMonIirVgbk692Y\" data-mce-href=\"https:\/\/www.asymptotejournal.com\/blog\/2019\/06\/06\/20607\/?fbclid=IwAR1_5C6baammtplGDNANRa-eeqGLOQ1IlID8zZTQWqf1lMonIirVgbk692Y\"\u003eBook Club Pick\u003c\/a\u003e!\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFinalist for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBig\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eOther\u003c\/em\u003e's Book Award for Translation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Yideum is primarily a poet and this is evident in the texture and sensuality of her prose, skillfully translated by Ji Yoon Lee.”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—\u003cem data-mce-fragment=\"1\"\u003eAsymptote\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Unapologetically feminist… The novel has as much to say about the contemporary #MeToo era as it does ‘80s South Korea.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eSpectrum Culture\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“This slim novel juggles so much: same-gender attraction, violence against women, abusive families, and more. This tightly-wound, exacting story is set during the late 80’s, a time of student activism and suppression in Korea. Jeong Yeoul is unforgettable and mesmerizing as she navigates college life, gender norms, politics, and death.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Anna, Bookseller at City Lights Bookstore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“As she deals with the traumas of a family member’s death, a friend’s suicide, and her own sexual assault, there is something powerfully irrefutable about the narrator’s untethered unloading of confessions, observations, and scathing rage. Lee’s multifaceted translation captures the character’s contradictions—expressing the uncontrollable forces of sorrow, apathy, confusion—and the hope that having a voice is a way to freedom.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Bonnie Chau, \u003cem data-mce-fragment=\"1\"\u003ePublic Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464940355747,"sku":"9781941920770","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464940388515,"sku":"9781941920435","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/040-Blood_Sisters.jpg?v=1596660939"},{"product_id":"muslim-a-novel","title":"\"Muslim\"","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Zahia Rahmani \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated by Matthew Reeck\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cb\u003eWinner of the 2020 Albertine Prize\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eFiction and lyric essay combine in Zahia Rahmani’s poetic reflection on Islamic history and her struggles with what it means to be Muslim.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e February 12, 2019\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920756\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920763\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003e“Muslim”: A Novel\u003c\/em\u003e\u003cspan\u003e is a genre-bending, poetic reflection on what it means to be Muslim from one of France’s leading writers. In this novel, the second in a trilogy, Rahmani’s narrator contemplates the loss of her native language and her imprisonment and exile for being Muslim, woven together in an exploration of the political and personal relationship of language within the fraught history of Islam. Drawing inspiration from the oral histories of her native Berber language, the Koran, and French children’s tales, Rahmani combines fiction and lyric essay in to tell an important story, both powerful and visionary, of identity, persecution, and violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eThe Algerian-born academic and author \u003cstrong\u003eZahia Rahmani\u003c\/strong\u003e is one of France’s leading art historians and writers of fiction, memoirs, and cultural criticism. She is the author of a literary trilogy dedicated to contemporary figures of so-called banished people: \u003cem\u003eMoze\u003c\/em\u003e (Sabine Wespieser Editions, 2003); “\u003cem\u003eMuslim”: A Novel\u003c\/em\u003e (Sabine Wespieser Editions, 2005); and F\u003cem\u003erance: Story of Childhood\u003c\/em\u003e (Sabine Wespieser Editions, 2006). The US edition of \u003cem\u003eFrance, Story of Childhood\u003c\/em\u003e was published by Yale University Press in 2016. The French Ministry of Culture named her Chevalier of Arts and Letters and a member of the College of the Diversity. As an art historian, Rahmani is Director of the Research Program on Art and Globalization at the French National Institute of the History of Art (INHA), an interdisciplinary program that focuses on contemporary art practices in a globalized world and links many networks in France and abroad. She is the founder and director of INHA’s ambitious Interactive Bibliographic Database on the globalization of art, its history and theoretical impact. Rahmani is a member of the Global Visual Cultures Academic Committee and she also created the graduate research program at the École Nationale des Beaux-Arts, which she directed from 1999-2002. Her multi-year international research project at the INHA in Paris and Marseille culminated in \u003cem\u003eMade in Algeria: Genealogy of a Territory\u003c\/em\u003e, a book and current exhibition of colonial cartography, high and popular visual culture, and contemporary art at the Museum of European and Mediterranean Civilisations (MuCEM), located in Marseille.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMatt Reeck\u003c\/strong\u003e is an award-winning poet and translator from the French, Urdu, Hindi, and Korean. He is the recipient of a Fulbright Fellowship to India, the American Institute of Indian Studies, and the PEN Foundation. He has translated from the Urdu novels by Saadat Hasan Manto, \u003cem\u003eBombay Stories\u003c\/em\u003e (Vintage Classics UK \u0026amp; US, 2014), and Mushtaq Ahmed Yousufi, \u003cem\u003eMirages of the Mind\u003c\/em\u003e (New Directions, 2015). His translations from the French include Abdelkébir Khatibi’s \u003cem\u003eClass Warrior—Taoist Style\u003c\/em\u003e (Wesleyan University Press, 2017) and Zahia Rahmani’s \u003cem\u003eMuslim: A Novel\u003c\/em\u003e (Deep Vellum, forthcoming 2019). He is currently completing his PhD in Comparative Literature at the University of California Los Angeles.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eReviews\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cb\u003eOne of Words Without Borders’ Most Anticipated Books of 2019\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePart of the \u003cem\u003eNew York Times\u003c\/em\u003e Globetrotting feature on Upcoming 2019 Translations\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eIncluded in Translated Lit’s Most Anticipated Books of February 2019\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eLibrairie Drawn \u0026amp; Quarterly’s New \u0026amp; Notable books \u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cstrong\u003eIncluded in Electric Literature’s “\u003ca href=\"https:\/\/electricliterature.com\/20-small-press-books-you-might-have-missed\/\"\u003e20 Small Press Books You Might Have Missed\u003c\/a\u003e“\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eFinalist for \u003cem\u003eBig\u003c\/em\u003e \u003cem\u003eOther\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003e’\u003c\/em\u003es Book Award for Translation\u003cbr\u003e\u003c\/strong\u003e\u003cb\u003eWinner of the 2020 Albertine Prize\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“A love letter to us: the outcasts, the hyphenated “others,” those who have lost tongues and gained dialects. Zahia Rahmani speaks to the religious fairy tales of my girlhood, the Muslim lore we listened to while learning the Arabic alphabet. “Muslim” challenges the borders of genre, much like Rahmani pushes up against the boundaries of multiple, overlapping identities, investigating imposed definitions and complicating what it means to be colonized, woman, Muslim.” \u003cstrong\u003e—Dr. Seema Yasmin\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“‘I was born into a minor language and escaped from a distant nowhere that didn’t want me,’ Zahia Rahmani writes in this chronicle of the numerous forms isolation can take—and the numerous ways that identity can be both claimed and projected onto someone. This novel is brief in length, but Rahmani’s approach to it allows for a constant mutability of its form and a series of limitless stylistic renewals.” \u003cstrong\u003e—Tobias Carroll, \u003cem\u003eWords Without Borders \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e“\u003c\/span\u003eThis is the ethical and political terrain at stake for Rahmani, whose literary fiction is an instrument for truths that as yet have nowhere else to be heard. That the very nature of our political regimes requires intervention by way of fiction suggests that literature has an indispensable role to play in the ongoing work of justice.” \u003cstrong\u003e—Jill Jarvis, \u003cem\u003ePublic Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Absolutely essential reading.” \u003cstrong\u003e—Lyric Hunter, Brazos Bookstore\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“The role of myth and archetypes, identitarian persecution, faith, movement through borderlands, naming, and the limitations and potential of particular languages all figure into this autobiographical novel.” \u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Aaron Robertson\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e, \u003cem\u003eLit Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35443403948195,"sku":"9781941920756","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35443403980963,"sku":"9781941920757","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/039-Muslim.jpg?v=1596629159"},{"product_id":"the-anarchist-who-shared-my-name","title":"The Anarchist Who Shared My Name","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003eBy Pablo Martín Sánchez \u003ca href=\"http:\/\/deepvellum.org\/authors\/pablo-martin-sanchez\/\"\u003e\u003cbr\u003e\u003c\/a\u003eTranslated by Jeffrey Diteman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eThe thrilling English-language debut from the first Spanish member of the Oulipo, a riveting historical novel exploring the tumultuous life of an anarchist in 1920s Spain.\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eDecember 4, 2018\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003ePaperback\u003c\/strong\u003e: 9781941920718\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920725\u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003ch5\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003cp class=\"\"\u003e\u003cspan\u003eWhen Pablo Martín Sánchez discovers that he shares his name with a Spanish anarchist who was executed in 1924 for the attempted overthrow of Primo de Rivera’s dictatorship, he sets out to reconstruct his life story. Through references to key events in Europe’s history, including the sinking of the Titanic and the Battle of Verdun, and the influence of intellectuals such as Miguel de Unamuno and Victor Blasco Ibañez, \u003cem\u003eThe Anarchist Who Shared My Name\u003c\/em\u003e elegantly captures the life of a man who sought to resist political injustice and paid the ultimate price for his protest. Martín Sánchez’s thrilling tale is the unsettling chronicle of a dark chapter in Spanish history, as courageous as it is timely.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePablo Martín Sánchez\u003c\/strong\u003e\u003cspan\u003e was born in Reus, Spain in 1977. He graduated from the Institut del Teatre de Barcelona with a degree in Dramatic Art and from the University of Barcelona with a degree in Literary Theory and Comparative Literature. He received a Master’s degree in Humanities from the Carlos III University of Madrid and a Ph.D. in French Language and Literature from the University of Lille-3 as well as a Ph.D. in Literary Theory and Art and Comparative Literature from the University of Granada. He is the author of a collection of short stories, \u003c\/span\u003e\u003cem\u003eFricciones\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(E.D.A. Libros, 2011), and two novels,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Anarchist Who Shared My Name\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(El anarquista que se llamaba como yo) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTuyo es el mañana\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Acantilado, 2016). In addition, he has translated the works of authors such as Alfred Jarry, Raymond Queneau, and Wajdi Mouawad\u003cspan\u003e, and teaches writing at the Ateneu School of Writing of Barcelona. In 2014 he was invited to join the Oulipo and is currently the only Spanish member of the group.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cb\u003eJeff Diteman\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is a writer, artist, and translator from the French, Spanish, and Italian. He is currently studying for his Ph.D. Comparative Literature at the University of Massachusetts in Amherst. His writings and translations have been featured in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eDrunken Boat, The Missing Slate, Nailed Magazine\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eInventory\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cstrong\u003eOne of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEuropeNow\u003c\/em\u003e's \"Best Translations of 2018\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"The novel is so skillfully written and constructed that it kept me turning its pages with eager fascination.\"\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Willard Manus, \u003cem\u003eLively Arts\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“It reads faster than you’d expect, and has the same compelling sort of plot-driven narrative as a great Dickens novel. Also, there are anarchists and revolution and when are those things not fun to read about? All historical names and contexts are explained in non-pedantic ways that give the average reader all the necessary information re: Spain pre-World War II.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Chad Post, \u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Martín Sánchez gives a good picture of the Spanish-émigré scene in Paris and the revolutionary ambitions -- including the role of Blasco Ibáñez -- as well as the anarchist scene of the early twentieth century more generally… an impressive picture of the Spain (and the exiled-Spaniards) situation of those years.\"\u003cspan\u003e \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Complete Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A fascinating immersion into historical documentation and imagined history.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Tobias Carroll, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509193277603,"sku":"9781941920718","price":16.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509193310371,"sku":"9781941920725","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/037-The_Anarchist_Who_Shared_My_Name.jpg?v=1597086839"},{"product_id":"banthology-stories-from-banned-nations","title":"Banthology","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003eEdited by Sarah Cleave\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eFeaturing writings from Anoud, Wajdi al-Ahdal, Cristina Ali Farah, Najwa Bin Shatwan, Rania Mamoun, Fereshteh Molavi, and Zaher Omareen \u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eTranslated by Ruth Ahmedzai Kemp, Basma Ghalayini, Perween Richards, Sawad Hussain, William M. Hutchins, and Hope Campbell Gustafson\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAn emotional, timely collection of specially-commissioned writings from nations included in Trump's ban: Iran, Iraq, Libya, Syria, Somalia, Sudan, and Yemen.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eApril 24, 2018\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920732\u003cbr\u003e\u003cstrong\u003eebook:\u003c\/strong\u003e 9781941920749\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eThis edition proudly presented by Charles Dee Mitchell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOn January 27, 2017, President Donald Trump signed an executive order halting all refugee admissions for 120 days and temporarily barring entry from seven Muslim-majority countries. Mass protests followed, and the order has since been blocked, revised and challenged by judges, politicians, activists and artists alike. But the battle is not yet over, and in the wake of recent terrorist attacks in the UK, Trump has renewed calls for the ban.\u003c\/p\u003e\n\u003cp\u003eThis urgent and timely collection brings together seven specially commissioned stories from the so-called ‘banned nations’: Iran, Iraq, Libya, Syria, Somalia, Sudan and Yemen. Written in response to Trump’s ban, it showcases new works by previously unplatformed writers, exploring the emotional and personal impact of all restrictions on movement – both existing restrictions and potential future bans.\u003c\/p\u003e\n\u003cp\u003eCovering a range of approaches—from satire, to allegory, to literary realism—\u003cem\u003eBanthology: Stories from Banned Nations\u003c\/em\u003e is a testament to the importance of creative resistance in turbulent times.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Writers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnoud\u003c\/strong\u003e is an Iraqi-born author living in Algiers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWajdi al-Ahdal\u003c\/strong\u003e is a Yemeni author, screenwriter and dramatist, and has written four novels and several short story collections. He spent many years in exile after a campaign against his novel, \u003cem\u003eMountain Boats,\u003c\/em\u003e led to its confiscation by the Yemeni Ministry of Culture for insulting “morality, religion, and conventions of Yemeni society.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCristina Ali Farah \u003c\/strong\u003eis a writer, poet, playwright, and performer of Somali and Italian descent. She was raised in Mogadishu, Somalia, but fled in 1991 at the outbreak of civil war, and eventually settled in Rome to teach Somali language and culture at Roma Tre University. Her stories and poems have appeared in several anthologies and her 2007 novel \u003cem\u003eMadre piccola \u003c\/em\u003ewas awarded the prestigious Vittorini Prize. In 2006, she was awarded the Lingua Madre National Literary Prize.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNajwa Bin Shatwan\u003c\/strong\u003e is a Libyan academic, novelist, and playwright. She has written three short story collections and three novels, including \u003cem\u003eThe Slaves’ Pen\u003c\/em\u003e, shortlisted for the 2017 International Prize for Arabic Fiction. She was selected as one of the 39 best Arab authors under the age of 40 by the Beirut39 project, and her story \u003cem\u003eThe Pool and the Piano\u003c\/em\u003e was included in the \u003cem\u003eBeirut39\u003c\/em\u003e anthology.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRania Mamoun \u003c\/strong\u003eis is a Sudanese author, journalist, and activist.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFereshteh Molavi \u003c\/strong\u003ewas born in Tehran and is the author of several works of fiction, short stories and essays including \u003cem\u003eThe House of Cloud and Wind\u003c\/em\u003e, \u003cem\u003eThe Sun Fairy\u003c\/em\u003e and \u003cem\u003eThe Departures of Seasons\u003c\/em\u003e, which was admired by the Mehregan Literary Award (Tehran, 2012). While in Iran, unable to publish some of her works due to censorship, she compiled a comprehensive bibliography of short stories in Persian and also translated numerous works by internationally-known writers. She moved to North America in 1998, and was previously a research librarian and the Persian bibliographer at Sterling Library, Yale University. She now lives in Toronto and divides her time among writing, organizing literature events, and advocating freedom of speech and human rights in Iran.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eZaher Omareen\u003c\/strong\u003e is a Syrian writer and researcher based in London. He has worked on independent cultural initiatives in Syria and Europe, and co-curated exhibitions on the art of the Syrian uprising. His short stories have appeared in Words Without Borders among others, and he recently co-edited and contributed to \u003cem\u003eSyria Speaks: Art and Culture from the Frontline \u003c\/em\u003e(Saqi Books, 2014). He is currently working on a collection of short stories drawn from the collective memories of the 1982 Hama massacre.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Translators\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRuth Ahmedzai Kemp\u003c\/strong\u003e is a British literary translator working from German, Russian and Arabic into English. She graduated from Oxford University in 2003 where she studied Russian and German, did an MA in Translation and Interpreting at Bath University, and then started studying Arabic intensively while already working as a professional translator. She has a Postgraduate Diploma in Translation in all three of her language combinations. Ruth has translated novels by Fadi Zaghmout, Hanna Winter, Kathrin Rohmann and Yulia Yakovleva, and non-fiction books on nature, history, politics, civil rights, child psychology, linguistics, art history and literary criticism. She has also translated plays from Russia, Syria and Lebanon, and several short stories and children’s picture books.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBasma Ghalayini \u003c\/strong\u003eis an Arabic translator who has previously translated short fiction for Maaboret: The Short Story Project and Commonwealth Writers. She was born in Gaza, and grew up in the UK until the age of eight, before returning to the Strip.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWilliam M. Hutchins \u003c\/strong\u003eis an American academic, author and translator of contemporary Arabic literature. He He is currently a professor in the Department of Philosophy and Religion at Appalachian State University in Boone, North Carolina. His translations include the Cairo Trilogy by Egyptian Nobel Prize-winner Naguib Mahfouz and A Land without Jasmine by Wadji al-Adhal. He has also translated the work of Tawfiq al-Hakim, Nawal El-Saadawi, Muhammad Khudayyir and Ibrahim al-Koni, and others.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHope Campbell Gustafson \u003c\/strong\u003egraduated from Wesleyan University in 2012. She is an MFA candidate in the Literary Translation Workshop at the University of Iowa. Her translations have been published or are forthcoming in \u003cem\u003eExchanges Literary Journal\u003c\/em\u003e, \u003cem\u003eAsymptote\u003c\/em\u003e, and \u003cem\u003eThe Brooklyn Rail.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerween Richards \u003c\/strong\u003eis a literary translator from Arabic. She attended the Translate at City summer school in London in 2016, and was one of two winners of the school’s annual translation competition, sponsored by Comma Press. She was recently awarded an English PEN Translates grant to translate \u003cem\u003eThe Sea Cloak \u003c\/em\u003eby Nayrouz Qarmout, which will be published in English by Comma Press in 2018.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSawad Hussain\u003c\/strong\u003e is an Arabic translator and litterateur. She holds a MA in Modern Arabic Literature from the School of Oriental and African Studies and regularly critiques Arabic literature in translation. She was co-editor of the Arabic-English side of the award-winning \u003cem\u003eOxford Arabic Dictionary \u003c\/em\u003e(2014), and has translated the work of Fadi Zaghmout, Sahar Khalifeh, and Saud Al Sanousi among others.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eA Recommended 2018 Summer Read by Mythili Rao of WNYC's New Yorker Radio Hour on \u003cem\u003eThe Takeaway\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This anthology is a welcome arrival in a time that is unwelcoming in so many needless ways – at least as the US is projecting. The voices, the writing of Rania Mamoun, Zaher Omareen, Fereshteh Molavi, Najwa Binshatwan, Ubah Cristina Ah Farah, Anoud, and Wajdi al-Ahdal, as given us by their estimable translators here, are all voices and writers we should be reading and knowing in any event. May this book help us begin to know these writers, their work, and lead to a deeper, world of reading, to making the larger world a more welcoming and gracious place in more ways.” \u003cstrong\u003e—Rick Simonson, Elliott Bay Book Company\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Seven fresh, surprising views on boundaries and borders in a collection that combines black humor, islamo-futurism, fantasy, and painful realities.” \u003cstrong\u003e—M. Lynx Qualey, \u003cem\u003eArablit\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464734605475,"sku":"9781941920732","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464734638243,"sku":"9781941920749","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/031-Banthology.jpg?v=1596660531"},{"product_id":"revenge-of-the-translator","title":"Matthiessent, Brice: REVENGE OF THE TRANSLATOR","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Brice Matthiessent\u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/brice-matthieussent\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/deepvellum.org\/authors\/brice-matthieussent\/\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTranslated by Emma Ramadan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe work of a masterful novelist and translator collide in this visionary and hilarious debut from acclaimed French writer Brice Matthieussent.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/strong\u003eOctober 2, 2018\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaperback\u003c\/strong\u003e: 9781941920695\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eeBook: \u003c\/strong\u003e9781941920701\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe work of a masterful novelist and translator collide in this visionary and hilarious debut from acclaimed French writer Brice Matthieussent. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e follows Trad, who is translating a mysterious author's book, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eTranslator's Revenge\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, from English to French. The book opens as a series of footnotes from Trad as he justifies changes he makes. As the novel progresses, Trad begins to take over the writing, methodically breaking down the work of the original writer and changing the course of the text. The lines between reality and fiction start to blur as Trad's world overlaps with the characters in \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eTranslator's Revenge\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, who seem to grow more and more independent of Trad's increasingly deranged struggle to control the plot. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a brilliant, rule-defying exploration of literature, the act of writing and translating, and the often complicated relationship between authors and their translators.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBrice Matthieussent\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e is an award-winning translator of over 200 novels from English into French, including the writings of \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJim Harrison\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e, for which he was awarded the 2013 Prix Jules Janin from the Académie française. In 2000, he was awarded the UNESCO-Françoise Gallimard Prize for his translation of \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRobert McLiam Wilson's\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEureka Street\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e. His other translations include the works of \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJack Kerouac, Henry Miller, Annie Dillard, Rudolph Wurlitzer,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003eand\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eCharles Bukowski.\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e He graduated from the École nationale supérieure Mines de Paris in 1973, and earned his PhD in philosophy in 1977. Matthieussent currently resides in France, where he teaches the history of contemporary art and aesthetics at the Ecole Supérieure des Beaux-Arts in Marseille. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, forthcoming from Deep Vellum in 2018, is his first novel, and was awarded the Prix du style Cultura upon publication in France in 2009.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEmma Ramadan\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eis a graduate of Brown University, received her Master's in Cultural Translation from the American University of Paris, and recently completed a Fulbright Fellowship for literary translation in Morocco. Her translation of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnne Garreta's\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eSphinx\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ewas published by Deep Vellum in spring 2015 and was nominated for both the PEN Translation Prize and the Best Translated Book Award. Her translation of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnne Parian's\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eprose poem\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eMonospace\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ewas released by La Presse in fall 2015, and her translation of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eFouad Laroui's\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ePrix Goncourt story collection\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Curious Case of Dassoukine's Trousers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewas published in spring 2016. Her forthcoming translations of\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eLaroui's\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003edebut novel in English\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Tribulations of the Last Sjilmassi\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, and\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eBrice Matthiuessent'\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003es\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRevenge of the Translator\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewill be published by Deep Vellum in 2018.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 class=\"p1\" data-mce-fragment=\"1\"\u003eReviews\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOne of \u003cem data-mce-fragment=\"1\"\u003eEuropeNow\u003c\/em\u003e's \"Best Translations of 2018\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“At once a powerful satire and an ode to a collaborative art form, this delightful novel will have readers scratching their heads, retracing their steps, and delighting anew in the art of translation, including Ramadan’s own skillful work here.”\u003cstrong data-mce-fragment=\"1\"\u003e —\u003cem data-mce-fragment=\"1\"\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Here is a thrilling meta novel originally written in French - a peek into the mind of an obsessive, and increasingly unstable translator. Written entirely of footnoted annotations, it’s about a French translator translating a fictional work back into its original language, attempting to justify his growing changes to the text.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLibrairie Drawn \u0026amp; Quarterly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“…stuffed with symbols, mises en abyme, and direct and indirect comments that state or suggest that we cannot know where the limits of fiction and pretence lie and how far they extend.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eErike Fülöp, University of Hamburg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Matthieussent’s novel is a revenge indeed, a postmodern tour de force where the notions of original, translation, source and target texts, author and translator, are blurred to the point of becoming irrelevant, shedding a whole new light on the concepts of faithfulness and creativity, and redefining typographical and cultural spaces.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePierre-Alexis Mevel and Dawn Cornelio, University of Nottingham\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“We are at the heart of Literature, with its capacity to make the real vibrate, to reach it using words.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLe Monde\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Brilliant, brilliant, brilliant… worthy of our Umberto Eco.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRiccardo, Rossiello,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSoloLibri\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“An intensely thrilling tale of intrigue and translation with a comedic undercurrent, the novel explores the transcendent power of obsessive dedication and the blurred lines between reality and text.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWorld Literature Today \u003c\/em\u003e(Winter 2019) \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A gripping and hilarious exploration of literature come to life and showcases translation as the ultimate act of creation. A wonderful read!”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCaravansérail Bookstore (London, UK)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“If 2017 was the year when the translation community rallied around Kate Briggs’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThis Little Art\u003c\/em\u003e, then 2019 should be the year of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOnomatomania\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“This barrage of symbols may sound overwhelming, but in fact the ingenious, and sometimes plain outrageous, devices Matthieussent engineers to continue reintroducing these elements into the text is one of the great joys of the book. This network of symbols, which the reader is constantly trying to process and make sense of, is what drives the novel on and stops it from descending (completely) into farce.”\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOnomatomania\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Here is a thrilling meta novel originally written in French - a peek into the mind of an obsessive, and increasingly unstable translator. Written entirely of footnoted annotations, it’s about a French translator translating a fictional work back into its original language, attempting to justify his growing changes to the text.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLibrairie Drawn \u0026amp; Quarterly Books of the Week\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“It’s a credit to Ramadan that\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e, in its entirety, manages to feel like a necessary transgression. You could say that she didn’t do much, didn’t change much, didn’t stray much. But you could also say that it was her most transgressive, subversive move to forego revenge, content instead to disappear.” —\u003cstrong data-mce-fragment=\"1\"\u003eAlec Joyner, \u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eFull Stop\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Ramadan opts for unabashed provocation, uprooting the text from its cultural stasis and holding it up to the piercing scrutiny of today’s most inflammatory concerns. It’s a work that amounts to a critical reinvention that aspires not to a spot among the translated literary canon, but to the unraveling of the very standards by which that canon is praised.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArshy Azizi,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLA Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Wonderfully lost in the intricately woven plots, in the novel’s surreal atmosphere and rebellious humor, the reader encounters translation as a place for humanity—flawed, powerful, and shared.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAsymptote\u003c\/em\u003e’s August Book Club Selection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"So\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eRevenge of the Translator\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis an elaborate variation on the usual novel of an author playing a role in his own work, manipulating his characters even more directly...It's an amusing idea, and fairly amusingly played out, with Prote a significant figure, cruelly playing with his characters but then outflanked by the translator. Matthieussent has good fun with this, on its different levels...\"\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eM.A.Orthofer,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Complete Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"A clever satire on American pulp novels... There are twists aplenty, not least of which are the many meta-fictional aspects.\"\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTony Malone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e“Confusing, sexy, intelligent, funny, disarming, irresistible . . . one of the great metatextual novels of the 21st century (so far), and it’s difficult for me to be comfortable with a statement that bold, but honestly, it really is that good. If you enjoy the act of reading at all, get it, read it, teach it, savor it.” \u003cstrong data-mce-fragment=\"1\"\u003e—Katharine Coldiron, \u003cem data-mce-fragment=\"1\"\u003eThe Carolina Quarterly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509151957155,"sku":"9781941920695","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509151989923,"sku":"9781941920701","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/035-Revenge_of_the_Translator.jpg?v=1597067187"},{"product_id":"jon-gnarrs-childhood-memoir-trilogy","title":"Jón Gnarr's Childhood Memoir Trilogy","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Jón Gnarr\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThe childhood memoir trilogy from world-renowned Icelandic comedian, former mayor of Reyjkavík, and talented writer Jón Gnarr.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eBook Information:\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Indian\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e May 5, 2015\u003cbr\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920121\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920138\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e January 12, 2016\u003cbr\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920206\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920213\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Outlaw\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMarch 14, 2017\u003cbr\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920527\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920534\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe Indian\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a highly entertaining piece of bittersweet autobiographical fiction by world-famous Icelandic comedian and Mayor of Reykjavik, Jón Gnarr. Gnarr revisits his tortured childhood and describes with unparalleled naturalism the experience of growing up with learning and emotional disorders in a time before either were understood or treated outside of psych wards. Bullied relentlessly, the young Gnarr lashes out at the world, unable to fit in, an outcast.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe Pirate\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Pirate \u003c\/i\u003eGnarr talks freely of his troubles and traumas in the Icelandic educational system, describing the cruel bullying he suffered in school for being an outsider, his initiations as a punk rock kid, studying the philosophy of anarchism, ups and downs on the job market, and his debut as a punk rock singer. Even though the narrative is full of humor, Gnarr’s journey through his troubled teenaged years is both sincere and heartbreaking as the author’s journey through the Icelandic educational system was painful and full of conflict—both mentally and physically.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eThe Outlaw\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Outlaw\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edescribes the harsh world of Jón Gnarr’s late teenage years and wrestles with painful, bleak memories of this troubled stage of his life, physically abused and surrounded by suicides. He uses punk music to cope, but also discovers an interest in girls and ponders philosophical questions of right and wrong and how to be true to himself.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508759691427,"sku":"10036","price":30.0,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508759724195,"sku":"10037","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/C1-gnarrchildhoodmemoir.jpg?v=1596837200"},{"product_id":"the-trilogy-of-memory","title":"The Trilogy Of Memory","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThis collection includes the three books in Mexican maestro Sergio Pitol's Trilogy of Memory: \u003cem\u003eThe Art of Flight, The Journey, \u003c\/em\u003eand \u003cem\u003eThe Magician of Vienna\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eBook Information:\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Art of Flight\u003cbr\u003e\u003c\/em\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMarch 17, 2015\u003cbr\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920060\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920077\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Journey\u003cbr\u003e\u003c\/em\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e August 18, 2015\u003cbr\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920183\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920190\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eThe Magician of Vienna\u003cbr\u003e\u003c\/em\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e March 21, 2017\u003cbr\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920480\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920497\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eSergio Pitol Demeneghi\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e(1933-2018) was one of Mexico’s most influential and well-respected writers, born in the city of Puebla. He studied law and philosophy in Mexico City and spent many years as a cultural attaché in Mexican embassies and consulates across the globe, including Poland, Hungary, Italy, and China. He is renowned for his intellectual career in both the field of literary creation and translation, with numerous novels, stories, criticisms, and translations to his name. Pitol is an influential contemporary of the most well-known authors of the Latin American “Boom,” and began publishing his works in the 1960s. In recognition of the importance of his entire canon of work, Pitol was awarded the two most important prizes in the Spanish language world: the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages) and the Cervantes Prize, the most prestigious Spanish-language literary prize, often called the “Spanish language Nobel,\" in 2005.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eGeorge Henson\u003c\/strong\u003e is a literary translator and assistant professor of translation at the Middlebury Institute of International Studies in Monterey. His translations include Cervantes Prize laureate Sergio Pitol’s \u003cem\u003eTrilogy of Memory\u003c\/em\u003e, \u003cem\u003eThe Heart of the Artichoke\u003c\/em\u003e by fellow Cervantes recipient Elena Poniatowska, and Luis Jorge Boone’s \u003cem\u003eCannibal Nights\u003c\/em\u003e. His translations have appeared variously in \u003cem\u003eThe Paris Review\u003c\/em\u003e, \u003cem\u003eThe Literary Review\u003c\/em\u003e, \u003cem\u003eBOMB\u003c\/em\u003e, \u003cem\u003eThe Guardian\u003c\/em\u003e, \u003cem\u003eAsymptote\u003c\/em\u003e, and \u003cem\u003eFlash Fiction International\u003c\/em\u003e. In addition, he is a contributing editor for \u003cem\u003eWorld Literature Today\u003c\/em\u003e and the translation editor for its sister publication \u003cem\u003eLatin American Literature Today\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509463416995,"sku":"10029","price":37.5,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509463449763,"sku":"10030","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/C2-trilogyofmemory.jpg?v=1597089213"},{"product_id":"oraefi-the-wasteland","title":"Öræfi: The Wasteland","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy Ófeigur Sigurðsson\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Icelandic by Lytton Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eAn ambitious epic novel showcases the brutal elements of human nature and mother nature alike in Iceland's most desolate region.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eOctober 2, 2018\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920671\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920688\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Sigurdsson is without a doubt one of the best writers of his generation.\" —\u003cem\u003eFrettabladid Daily\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAfter a grueling solo expedition on Vatnajökull Glacier, Austrian toponymist Bernhardt Fingerberg returns to civilization, barely alive, and into the care of Dr. Lassi. The doctor, suspicious of his story, attempts to discover his real motives for venturing into the treacherous wastelands of Iceland—but the secrets she unravels may be more dangerous than they're worth.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eÓfeigur Sigurðsson \u003c\/strong\u003e\u003cspan\u003ewas born in Reykjavík on November 2, 1975. He has published six books of poetry and two novels. Ófeigur has tried his hand at a number of things: working as a uniformed night-watchman at a hotel, pre-packing ham and bacon at a factory farm, exercising his brawn as a dock worker, and exercising his brains as a student at the Philosophy Department of the University of Iceland, from where he received his BA degree in 2007 with a thesis on the taboo and transgression in the works of Georges Bataille. Ófeigur is at the forefront of a poetic movement of dynamic young creative people, who have recently had a hand in reshaping the form of Icelandic poetry. He has translated literature and written for radio on writers including Louis-Ferdinand Céline and Michel Houellebecq. A prolific poet, Ófeigur has published several collections including \u003c\/span\u003e\u003cem\u003eToast to the Midwinter\u003c\/em\u003e\u003cspan\u003e (2001) and \u003c\/span\u003e\u003cem\u003eRedness \u003c\/em\u003e\u003cspan\u003e(2006). In 2005 his first novel, \u003c\/span\u003e\u003cem\u003eÁferð\u003c\/em\u003e\u003cspan\u003e, was published and received very positive reviews. His second novel, Jón (2010), the story of a man writing letters to his pregnant wife from a cave, became the first Icelandic novel to receive the European Union Prize for Literature. Ófeigur’s latest book, \u003c\/span\u003e\u003cem\u003eÖræfi: The Wasteland\u003c\/em\u003e\u003cspan\u003e, came out in 2014 and was the runaway literary sensation of the year, becoming a massive bestseller and receiving the Icelandic Literary Prize, and it was also chosen as the year's best book among the country's booksellers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eLytton Smith\u003c\/strong\u003e (born 1982) is an Anglo-American poet and translator. His poetry collections include \u003cem\u003eThe All-Purpose Magical Tent\u003c\/em\u003e (Nightboat Books, 2009), which was selected by Terrance Hayes for the Nightboat Books Poetry Prize in 2009, and a previous chapbook, \u003cem\u003eMonster Theory\u003c\/em\u003e, selected by Kevin Young for the Poetry Society of America Chapbook Fellowship in 2008. He has taught at Columbia University, Fordham University, and Plymouth University, and is currently a professor at SUNY-Geneseo. In addition to his work translating Jón Gnarr, he has translated two other novels from Icelandic: \u003cem\u003eThe Ambassador\u003c\/em\u003e by \u003cmeta charset=\"utf-8\"\u003eBragi Ólafsson (Open Letter 2010) and \u003cem\u003eA Child in Reindoor Woods\u003c\/em\u003e by \u003cmeta charset=\"utf-8\"\u003eKristín Ómarsdóttir (Open Letter 2012), and his translation of \u003cmeta charset=\"utf-8\"\u003e \u003ci data-mce-fragment=\"1\"\u003eTómas Jónsson, Bestseller\u003c\/i\u003e by Gudbergur Bergsson is forthcoming from Open Letter Books.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eWinner of the Icelandic Literature Prize\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eChosen by the booksellers of Iceland as the best novel of 2015\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eLonglisted for the National Translation Prize 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"This is epic literature.\" \u003cstrong\u003e—Jón Gnarr, author of \u003cem\u003eThe Indian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Sigurdsson is without a doubt one of the best writers of his generation.” \u003cstrong\u003e—\u003cem\u003eFrettabladid\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Icelandic humour mixed with fantasy and historical facts,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eÖræfi\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a rare find. This novel proves that Ófeigur Sigurðsson is one of the most noteworthy and original authors of his generation.” \u003cstrong\u003e—Fríða Björk Ingvarsdóttir \/ Víðsjá culture program, Radio 1, Iceland\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“But the novel certainly inherits Thomas Bernhard’s style of reports of reports of reported speech, leading to sentences like the following which closes the first section, much as mathematical brackets close a formula . . . Highly recommended and one to watch in the 2019 Best Translated Book Awards.” \u003cstrong\u003e—\u003cem\u003eThe Mookse \u0026amp; The Gripes \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“It’s a brilliant, ecstatic, hallucinatory arabesque consisting of nested tales of decreasing reliability and increasing self-awareness—all centering upon this blasted Icelandic emptiness where having or knowing anything seems only barely possible, where one glimpses the struggle to verify the contents of the world in bleakest terms.” \u003cstrong\u003e—David Searcy, \u003cem\u003eThe Literary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Part adventure, part history, and part madness! Sigurdsson’s nested rant of a narrative swept the literary awards in his native Iceland and is now one of the best books translated into English this year. and the winner is…\u003cem\u003eORAEFI: THE WASTELAND\u003c\/em\u003e!” \u003cstrong\u003e—Keaton Patterson, \u003cem\u003eBrazos Book Buyer’s Book of the Year Awards \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"A bold and startling novel.\" \u003cstrong\u003e—Viv Groskop, \u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Stunning novel . . . What follows is a collection of Icelandic stories, realist and mythic, historical and fictional, nestled inside an epic adventure. It is at once a history of place, and a man’s intensely personal journey through the elements of the land, and of his own mind. A delightfully complex play on the epistolary novel, the narration of \u003cem\u003eÖræfi\u003c\/em\u003e is layered, at times coming to us through five or six levels of character interpretation.” \u003cstrong\u003e—\u003cem\u003eThe Arkansas International \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan style=\"white-space: pre-wrap;\"\u003e“Amazing storytelling, plotting, perfect recursive structuring, just compulsively readable. . . I thought I’d put in a word today for the book from Deep Vellum that is completely rocking my December days! take a chance! It’ll change your perspective!” —\u003c\/span\u003e\u003cb style=\"white-space: pre-wrap;\"\u003eJohn Darnielle,\u003c\/b\u003e\u003cspan style=\"white-space: pre-wrap; font-weight: bold;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cb style=\"white-space: pre-wrap;\"\u003eThe \u003c\/b\u003e\u003cspan style=\"white-space: pre-wrap;\"\u003e\u003cb\u003eMountain\u003c\/b\u003e\u003c\/span\u003e\u003cb style=\"white-space: pre-wrap;\"\u003e Goats\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Sigurðsson takes on such a variety of moods and modes that he acts as a kind of ventriloquist, allowing an enormous variety of literature to speak through him. And it is wildly entertaining, this book. It’s both playful and deeply researched, bleak and yet hearty—like a pub full of friends clinking glasses just before the end of the world. Except the friends are all PhDs. And the pub is a gigantic igloo. And the end of the world is an April Fools’ Day prank.” \u003cstrong\u003e—Katherine Coldiron, \u003cem\u003e Carolina Quarterly \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Go buy it! it’s worth reading.” \u003cstrong\u003e—\u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Readers who are willing to yield to \u003cem\u003eÖræfi\u003c\/em\u003e, to open themselves to the unpredictable, will find in these pages one of the most vivacious, most ferociously inventive novels available in any language today.” \u003cstrong\u003e—Alec Dewar, \u003cem\u003eSplice\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Easy to summarize, but impossible to explain \u003cem\u003eOraefi\u003c\/em\u003e is a strange amalgamation of explorer’s tale, travelogue, historical fiction, collection of dramatic monologues, and celebration of place names. Ostensibly the story of a scholar who nearly dies while exploring a wasteland in Iceland, the story meanders through multiple layers and narrators like a stream flowing from the glacier to the forest to the sea. It’s a wild ride, unlike anything you’ve read.” \u003cstrong\u003e—Staff pick by bookseller Josh Cook \u003cem\u003e Porter Square Books \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"\u003cem\u003eÖraefi: The Wasteland \u003c\/em\u003eis an insane, swaggering beast of a novel that incorporates everything from volcanoes to feral sheep to death metal in a tale that literally defies the imagination. It’s a rollicking, sui generis quest story brought to English in all its idiosyncratic complexity by Lytton Smith’s stellar translation.”\u003cem\u003e \u003c\/em\u003e\u003cstrong\u003e—Keaton Patterson, Brazos Bookstore (Houston, TX)\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508885586083,"sku":"9781941920671","price":16.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508885618851,"sku":"9781941920688","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/036-Oraefi_The_Wasteland_RGB.jpg?v=1597065315"},{"product_id":"mephistos-waltz-selected-short-stories","title":"Mephisto's Waltz","description":"\u003cp\u003e\u003cstrong\u003eBy Sergio Pitol \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by George Henson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePitol gained legendary status first as a short story writer. This, his first collection in English, showcases his greatest stories.\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eJanuary 22, 2019\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920831\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920817\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"One of Mexico's most culturally complex and composite writers.\" —\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the renowned Mexican literary master and author of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTrilogy of Memory\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Deep Vellum) comes\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMephisto's Waltz\u003c\/em\u003e, bringing together the best short stories from celebrated writer Sergio Pitol's oeuvre. The Xavier Villaurrutia award-winning collection includes the titular story, Pitol's personal favorite. Selected by the author, each story is a glimpse into the works that first gained Pitol his status as one of the greatest living Mexican writers and showcases the evolution of his unique literary style.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eSergio Pitol Demeneghi \u003c\/strong\u003e\u003cspan\u003e(1933-2018) was one of Mexico’s most influential and well-respected writers, born in the city of Puebla. He studied law and philosophy in Mexico City and spent many years as a cultural attaché in Mexican embassies and consulates across the globe, including Poland, Hungary, Italy, and China. He is renowned for his intellectual career in both the field of literary creation and translation, with numerous novels, stories, criticisms, and translations to his name. Pitol is an influential contemporary of the most well-known authors of the Latin American “Boom,” and began publishing his works in the 1960s. In recognition of the importance of his entire canon of work, Pitol was awarded the two most important prizes in the Spanish language world: the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages) and the Cervantes Prize, the most prestigious Spanish-language literary prize, often called the “Spanish language Nobel,\" in 2005.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eGeorge Henson\u003c\/strong\u003e is a literary translator and assistant professor of translation at the Middlebury Institute of International Studies in Monterey. His translations include Cervantes Prize laureate Sergio Pitol’s \u003cem\u003eTrilogy of Memory\u003c\/em\u003e, \u003cem\u003eThe Heart of the Artichoke\u003c\/em\u003e by fellow Cervantes recipient Elena Poniatowska, and Luis Jorge Boone’s \u003cem\u003eCannibal Nights\u003c\/em\u003e. His translations have appeared variously in \u003cem\u003eThe Paris Review\u003c\/em\u003e, \u003cem\u003eThe Literary Review\u003c\/em\u003e, \u003cem\u003eBOMB\u003c\/em\u003e, \u003cem\u003eThe Guardian\u003c\/em\u003e, \u003cem\u003eAsymptote\u003c\/em\u003e, and \u003cem\u003eFlash Fiction International\u003c\/em\u003e. In addition, he is a contributing editor for \u003cem\u003eWorld Literature Today\u003c\/em\u003e and the translation editor for its sister publication \u003cem\u003eLatin American Literature Today\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e“Translating the twists and turns and folds of Sergio Pitol’s sentences must have been no easy feat, which is why George Henson deserves a medal for his work here. Henson renders Pitol’s sentences in a rich mix of formality and informality—fitting for a writer who was both a lawyer and diplomat, someone so used to exacting methods of communication.” \u003cstrong\u003e—Greg Walkin, \u003cem\u003eLiteral Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“A dizzying and, at times, disorienting read, yet surely this is what caused Pitol to light up an already-lit Latin scene . . . Pitol’s biggest leaps forward—nesting stories inside one another, analyzing his writing like a critic, blurring the line between life and art—test the limits of what bookfolk today like to call autofiction . . . Together, the fragments add up to a broad snapshot of a time and place and, in hindsight, make the narrative gymnastics of Bolaño seem inevitable.” \u003cstrong\u003e—Robert Rea, \u003cem\u003eThe Southwest Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“This collection spans decades in Pitol’s career, and the stories found within it are set in numerous countries, giving a fantastic sense of the dizzying life of their author. Pitol’s storytelling often takes storytelling itself as the subject, and the winding and complex tales here fantastically evoke different modes of memory and narrative.” \u003cstrong\u003e—Tobias Carroll, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Known for transcending genres and styles, Pitol’s writing stretched beyond the traditional magical realism of Latin America to include surrealist, irreverent turns that were both dark in their truth and light in their playful structure.” \u003cstrong\u003e—Laura Farmer, \u003cem\u003eThe Gazette\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\"His literature reflects the droll and ironic constant of his observations... Pitol knew how to see others, and he managed to reconcile and reflect very different worlds.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eElena Poniatowska, author of \u003cem\u003eThe Heart of the Artichoke\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\"Pitol is a writer of another kind: his importance lies on the page, in the creation of his own world, in his ability to shed light on the world.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDaniel Saldaña Paris, author of \u003cem\u003eAmong Strange Victims\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\"Pitol’s short stories, essays and crime novels merge fiction with memoir in an imaginative swirl of contemplation and reflection.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003ePaulina Villegas, \u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508830896291,"sku":"9781941920831","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508830929059,"sku":"9781941920817","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/038-Mephistos_Waltz.jpg?v=1596837579"},{"product_id":"the-imagined-land","title":"The Imagined Land","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy Eduardo Berti\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by Charlotte Coombe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eEvoking Calvino \u0026amp; Yan Lianke, Oulipo member Berti paints a classic tragic love story with sumptuous detail in pre-revolutionary China.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eSeptember 25, 2018\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920619\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920626\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"One of the most original and talented novelists writing in Spanish today.\" —Alberto Manguel\u003c\/p\u003e\n\u003cp\u003eWith sensuous imagery and musical cadence, renowned Oulipian Eduardo Berti conjures an exquisite, star-crossed love story in pre-revolutionary China. The desires of a young girl, visited in her dreams by her grandmother's ghost, clash with the strict expectations of her parents, exploring the delicate balance between modernity and tradition, mysticism and memory.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEduardo Berti\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(b. 1964) was admitted to the Oulipo in 2014, becoming the group's first Argentinian writer. In 2011 he won the Emecé Prize and the Las Américas Prize for his book\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Imagined Land\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eWinner of the Las Américas Novel Award 2012\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eEmecé Novel Award 2011\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eNational Spanish TV's Book of the Year 2012\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"One of the best love stories I've read.\" \u003cstrong\u003e—Jorge Volpi, author of \u003cem\u003eSeason of Ash\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"One of the most original and talented novelists writing in Spanish today.\" \u003cstrong\u003e—Alberto Manguel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"The reader gets trapped into the charm of an unforgettable, delicate, and intensively moving voice.\" \u003cstrong\u003e—Leopoldo Brizuela\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Eduardo Berti tells us a story we will never be able to forget through outstanding prose.\" \u003cstrong\u003e—Claudia Piñeiro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"The story revels itself as the secret flower of life trying to find its way through the hardest stones of tradition.\" \u003cstrong\u003e—Pedro Mairal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"A genuinely innovative talent.\" \u003cstrong\u003e—Paul Bailey, \u003cem\u003eDaily Telegraph\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"This fantasy [\u003cem\u003eAgua\u003c\/em\u003e] by an Argentinian delights in its journey.\" \u003cstrong\u003e—Isabel Montgomery, \u003cem\u003eGuardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Like switching on a light switch\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAgua\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis as utterly simple as it is warmly illuminating...haunting quality...When a character feverishly finds herself abandoning the real world for the one of he dreams we're swept along, intoxicated with her.\" \u003cstrong\u003e—Mary Elizabeth Williams, \u003cem\u003eNew York Times Book Review\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"For 30 years I've been reading publishers' manuscripts and in that time I've only discovered seven writers. Eduardo Berti is the seventh.\"\u003cstrong\u003e —Héctor Bianciotti\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“Lauded Argentine writer Eduardo Berti turns his talent for enchanted settings and light but meaningful social commentary to the setting of prerevolutionary China. \u003cem\u003eThe Imagined Land\u003c\/em\u003e is the story of a girl and her brother, both of whose loves and longings set them at odds with their family. Reminiscently sweet, Berti portrays young love in all its enchantment.” \u003cstrong\u003e—\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003e\n\u003cstrong\u003e\u003c\/strong\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eEduardo Berti\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e was born in Buenos Aires in 1964. He was admitted to the prestigious and influential Oulipo in 2014, becoming the group’s first Argentinian writer. His first work of fiction, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos pájaros\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was praised by the critics and won a Grant-Award from \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCultura Magazine\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. This was followed by two major novels: \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAgua \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLa mujer de Wakefield\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. The former was translated into French, English and Portuguese, the latter was translated in Japan and France, where it was a finalist in the prestigious Prix Femina for Best Foreign Book. In 1998, Berti moved to Paris where he worked as a cultural journalist, a correspondent for different media outlets and a scriptwriter, and taught courses in writing. In 2002, he published\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e La vida imposible\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, whose translation into French received the Libralire-Fernando Aguirre Prize. Two years later he published \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTodos los Funes\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, with which he won the prestigious Premio Herralde. Hailed as one of the books of the year by the Times Literary Supplement, the work was translated into Korean and French. Berti is also an accomplished translator of authors such as\u003c\/span\u003e\u003cb\u003e Nathaniel Hawthorne\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eGustave Flaubert\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eElizabeth Bowen\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. In 2011 he won the Emecé Prize and the Las Américas Prize for the Novel with his book Imagined Country. He currently lives in Bordeaux. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCharlotte Coombe\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a British translator based in the UK, working from French and Spanish into English. Her translation of \u003c\/span\u003e\u003cb\u003eAbnousse Shalmani’s\u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Khomeini, Sade and Me\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (2016) won a PEN Translates award in 2015. After a decade translating creative texts in gastronomy, the arts, travel and tourism, lifestyle, fashion and advertising, her love of literature drew her to literary translation, with a particular focus on women’s writing. Her work has been published by Phaidon, World Editions and online by Palabras Errantes As well as translating literature, she owns the translation agency CMC Translations providing transcreation, proofreading, editing and revising on a daily basis for various private clients and agencies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e \u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509261533347,"sku":"9781941920619","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509261566115,"sku":"9781941920626","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/033-The_Imagined_Land.jpg?v=1597087555"},{"product_id":"geography-of-rebels-trilogy","title":"Geography of Rebels Trilogy","description":"\u003cp\u003e\u003cb data-mce-fragment=\"1\"\u003eBy Maria Gabriela Llansol\u003c\/b\u003e \u003cbr\u003e\u003cb data-mce-fragment=\"1\"\u003eTranslated from the Portuguese by Audrey Young\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eEnglish debut with three linked novellas by influential cult Portuguese writer interweaving history, poetry, and philosophy into transcendent literary vision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eSeptember 25, 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePaperback: \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e9781941920633\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eeBook: \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e9781941920640\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eDescription\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Geography of Rebels Trilogy\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, containing \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Book of Communities\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Remaining Life\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eIn the House of July \u0026amp; August\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, is Maria Gabriela Llansol’s debut work to appear in English, containing her own earliest novels, written between 1974-1979, an interlinked trilogy of works originally published separately, but published in English together to give readers the chance to witness the breathtaking scope of her work as it was laid out from the very beginnings of her sterling literary career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“If anyone might be profitably compared to Clarice Lispector, it might well be Maria Gabriela Llansol. This is because of the fundamentally mystical impulse that animates them both, their conception of writing as a sacred act, a prayer: their idea that it was through writing that a person can reach ‘the core of being.’” —Benjamin Moser, author of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWhy This World: A Biography of Clarice Lispector\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Llansol’s text . . . creates spaces where conjecture and counterfactual accounts operate freely granting a glimpse of an alternative reality.” —Claire Williams, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Guardian\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eGeography of Rebels \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003epresents the English debut of three linked novellas from influential Portuguese writer Maria Gabriela Llansol. With echoes of Clarice Lispector, Llansol’s novellas evoke her vision of writing as life, conjuring historical figures and weaving together history, poetry, and philosophy in a transcendent journey through one of Portugal’s greatest creative minds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eMaria Gabriela Llansol \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e(1931-2008) is a singular figure in Portuguese literature, one of the greatest writers of the 20th century, yet never before translated into English. Although entirely unknown in the United States, she twice won the award for best novel from the Portuguese Writers’ Association with her textually idiosyncratic, fragmentary, and densely poetic writing; other recipients of this prize include \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eJosé Saramago\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAntónio Lobos Antunes\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e. Upon her death in 2008, she left behind twenty-seven published books and more than seventy unpublished notebooks, all of which evade any traditional definitions of genre. Despite this body of work, only a few short pages have ever been translated into English. She was born in Lisbon, where her bibliophile father was chief accountant at a paper factory and her doting mother a housewife. She graduated with a degree in law from Lisbon University in 1955 and two years later obtained a degree in educational sciences. She then ran a nursery school before publishing her first short stories in 1962, inspired by her interaction with children. In 1965 she and her husband Augusto Joaquim moved to Belgium, in voluntary exile from the repressive regime of António de Oliveira Salazar. She would spend twenty years there in voluntary exile, teaching at the local school, translating Rimbaud and Baudelaire, and reading medieval mystics.The experience of educating children from a variety of backgrounds and nationalities - some with problems such as autism or Down's syndrome - influenced her work considerably. So did the perspective afforded by living and working in a foreign language, in an isolated community far from home. The couple became part of a cooperative that ran an experimental school, and also made and sold furniture and food.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e Unlike her contemporaries back in Portugal, she did not write to describe reality, but rather to exist through the process of writing. Eliding any sense of plot, her texts instead transcribe the movements of bodies and animals and light. (They “correspond to inner earthquakes,” she would say in an interview.) Her first novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Book of Communities\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, was published in 1977. It is the first volume of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eGeography of Rebels\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, a trilogy of novellas mapping a series of encounters between poets, mystics, beguines and heretics, all of which take place in another version of the medieval war between peasants and princes in Central Europe. Llansol appropriates figures like Saint John of the Cross and Thomas Muntzer and pulls them into a transhistorical dialogue, constructing a succession of what she calls “luminous scenes,” where they coexist outside of time. In the mid-1980s she moved back to Portugal, to the historic hilltop town of Sintra, and from then on published almost one book a year, largely ignored by the general public but gradually gathering a loyal, diverse group of readers, including academics and even the current president of the European commission, José Manuel Barroso, who has called her writing \"intense and sublime\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAudrey Young\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is a translator, researcher, and archivist. She received a Fulbright grant to research non-theatrical film in Portugal and studied Portuguese language and culture at the University of Lisbon with a scholarship from the Instituto Camões. She has worked at the Getty Research Institute, the Cineteca Nacional México, and the Arquivo Nacional do Brasil, among other archives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eReviews\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eEuropeNow\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e's Best Translations of 2018\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Imagine Clarice Lispector speaking with specters. Imagine Emily Dickinson seeking and finding a community. Imagine Hilda Hilst rebelling further into the madding crowd. Imagine Virginia Woolf as a Lisbon-born medium channeling displaced waves of consciousness. Imagine Fernando Pessoa as a woman building edenic spaces outside of our time-space continuum. If you can imagine some amalgamation of these descriptors, you may come close to conjuring up the writings of Maria Gabriela Llansol, but you can never quite know their protean beauty until you have entered these textual landscapes for yourself, and discovered the alternate realities they open up, where time feels simultaneously historical and ahistorical, and space simultaneously geographical and ageographical. We are fortunate that Audrey Young has translated Llansol’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eGeography of Rebels\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003eTrilogy into English for the first time. Now we no longer have an excuse to overlook Llansol’s idiosyncratic genius.”\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan\u003e \u003c\/span\u003e—Tyler Malone,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLiterary Hub\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"This is an astonishing, otherworldly and utterly original book, and it reveals Llansol as one of the most fascinating Portuguese writers of the twentieth century.\"\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Annie McDermott,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTimes Literary Supplement\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“I am intrigued and mesmerized by Llansol’s prose, her mysterious and beautiful sentences that push the novel beyond its usual constraints, and, at times, approach prose poetry. Like Virginia Woolf and James Joyce, Llansol’s method is a radical one and, for those readers who like to be challenged, worth checking out.”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Gary Michael Perry, FOYLES in Charing Cross (London, UK)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"Reading\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eGeography of Rebels\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003eis an unforgettable experience. Llansol’s hallucinatory prose is genuinely transfixing.\"\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Joshua Tait,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Carolina Quarterly\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"Her idiosyncratic, highly creative texts reached beyond conventional \"figurative\" writing. . . . In particular, her narrators function almost as a medium, or channel, for a series of fluctuating identities and voices or visitors (figures) who inhabit her consciousness and engage in discussion among themselves. Llansol's text also creates spaces where conjecture and counterfactual accounts operate freely - granting a glimpse of an alternative reality. She created iconoclastic, anti-nationalist texts that deflated mythical figures and representations of the past. She stressed Europe's evolution through the growth of free will, free thought and flourishing artistic and scientific developments.\"\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Claire Williams,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"A commotion of a novel. With abrupt sentences and a narrative that darts, swerves, and veers, it is a perplexing read, but in a way that innervates, rather than discourages.”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Benjamin, Librarie Drawn \u0026amp; Quarterly (Montreal, QC)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"Intense and sublime.\"\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—José Manuel Barroso, former president of the European Commission\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Abstract, speculative thought, difficult in its way, but Maria Gabriela Llansol makes it sing.”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Anthony Brown,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTimes Flow Stemmed\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Her figures are subjected to deformations and subject to a series of precise sensations. It is the precision of thought that gives her story clarity and makes it a container for speculative questions about the nature of writing and close reading. I found reading\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Book of Communities\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003e \u003c\/span\u003ean intensely felt experience, nervous as much as cerebral. It is a lived experience of Merleau-Ponty’s essay on language not residing purely in the brain, but being something we do with our bodies, words are “a certain use made of my phonatory equipment, a certain modulation of my body as a being in the world.” In that sense, like poetry, it is a book that benefits by being read aloud, playing with the elisions and sound structures. Its translator, Audrey Young, from what I can tell from comparing its original online, has done an outstanding job of retaining its rich tone and rhythm.”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTime's Flow Stemmed\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Imagine if Don Mclean’s song American Pie was written about Christian mysticism instead of rock-n-roll. Llansol immerses her readers in a shared hallucinatory vision, seemingly fueled by religious hysteria and open to multiple interpretations. . . . There is magic in how Llansol puts words together—and more of the poet in her than the prose writer. . . . Llansol is a writer’s writer, unrestrained and reckless in her use of language. And wholly uninterested in catering to the general reading public. Which brings us to what many would say is the major challenge in Llansol’s work. The trilogy has more in common with a medieval Book of Hours than modern fiction. . . There is a phosphorescent brilliance here. And for those who can stay the course, rewards to be had.”\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Tara Cheesman-Olmsted,\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Quarterly Conversation\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508620394659,"sku":"9781941920633","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508620427427,"sku":"9781941920640","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/034-The_Geography_of_Rebels.jpg?v=1596836271"},{"product_id":"bride-and-groom","title":"Bride and Groom","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003cstrong\u003eAlisa Ganieva\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eTranslated from the Russian by Dr. Carol Apollonio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003eRunner-up for 2015 Russian Booker Prize\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003eA multilayered, magical story of love and fate as two modern city-dwellers grapple with traditional family expectations to find happiness.\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003ePublication Date\u003c\/strong\u003e: March 27, 2018\u003c\/p\u003e\n\u003cp class=\"\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920596\u003cstrong\u003e\u003cbr\u003eEbook: \u003c\/strong\u003e9781941920602\u003c\/p\u003e\n\u003ch5\u003eDescription\u003c\/h5\u003e\n\u003cp class=\"\"\u003e\u003cspan\u003eFrom one of the most exciting voices in modern Russian literature, Alisa Ganieva, comes \u003c\/span\u003e\u003cem\u003eBride and Groom\u003c\/em\u003e\u003cspan\u003e, the tumultuous love story of two young city-dwellers who meet when they return home to their families in rural Dagestan. When traditional family expectations and increasing religious and cultural tension threaten to shatter their bond, Marat and Patya struggle to overcome obstacles determined to keep them apart, while fate seems destined to keep them together until the very end.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003cp class=\"\"\u003e \u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAlisa Ganieva\u003c\/strong\u003e\u003cspan\u003e, born in 1985, grew up in Makhachkala, the capital of Dagestan, and currently lives in Moscow. Her literary debut, the novella \u003c\/span\u003e\u003cem\u003eSalaam, Dalgat!\u003c\/em\u003e\u003cspan\u003e, published under a male pseudonym, provoked contradictory reactions in Russia: astonishment, especially among young Russians, at this unknown part of their country; and anger among radical Islamists at this negative portrayal of their homeland by one of their own. \u003c\/span\u003e\u003cem\u003eSalaam, Dalgat!\u003c\/em\u003e\u003cspan\u003e won the prestigious Debut Prize in 2009, and Ganieva revealed her true identity only at the award ceremony. Ganieva works as a journalist and literary critic. \u003c\/span\u003e\u003cem\u003eThe Mountain and the Wall\u003c\/em\u003e\u003cspan\u003e is her first novel, shortlisted for all three of Russia's major literary awards, and has already been translated into several languages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDr. Carol Apollonio\u003c\/b\u003e\u003cspan\u003e is Professor of Slavic \u0026amp; Eurasian Studies at Duke University. Her most recent translations include \u003c\/span\u003e\u003cb\u003eGerman Sadulaev's\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eThe Maya Pill\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (Dalkey Archive, 2014) and new versions of Chekhov stories. In addition to being an accomplished translator,\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003eDr. Apollonio\u003c\/b\u003e\u003cspan\u003e is also one of the world’s foremost scholars on both \u003c\/span\u003e\u003cb\u003eFyodor Dostoevsky\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eAnton Chekhov.\u003c\/b\u003e\u003cspan\u003e She was awarded the Russian Ministry of Cultures prestigious Chekhov Medal in 2011 for her contribution to the study of \u003c\/span\u003e\u003cb\u003eAnton Chekhov’s\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eliterature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eReviews\u003cbr\u003e\n\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eLonglisted for the Read Russia 2020 Prize\u003cbr\u003eRunner-up for the 2015 Russian Booker Prize\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eOne of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Globe and Mail\u003c\/em\u003e's 100 Best Books of 2018\u003cbr\u003eOne of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e's Notable Translations of 2018\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eOne of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAsian Review of Books\u003c\/em\u003e’ Best Books of 2018\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eOne of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRussia Beyond\u003c\/em\u003e's 7 Russian Books Translated in 2018 You Have to Read \u003cbr\u003e\u003c\/b\u003e\u003cb\u003eIncluded in Strand Bookstore’s “Best of Small Press” Shelf in Manhattan, NYC (November 2018)\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAuthor Alisa Ganieva\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.nytimes.com\/2018\/12\/03\/opinion\/russia-poland-history-laws.html\"\u003ewrote an op-ed for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eon the revisionist history of Russia! (December 2018)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e“The book is wonderfully transportive, and while full of beautifully rendered details of North Caucasian landscapes and traditional familial connection, it’s set against the unmistakable backdrop of the post-Soviet world; Marat’s role as a lawyer looking into the ghoulish murder of a human rights activist smacks of specificities that define some of post-Soviet Russia’s darkest moments. Most pertinent of all is the theme of generational divide which undergirds much of the drama between the characters. Though set in the traditional confines of a largely Muslim North Caucasus, this divide is a microcosm for a very real wedge between two distinct generations in Russia today, a wedge that’s become a powerful force in struggles from music consumption and social media, to what the future of Russian politics will look like.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Nadia Beard,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Calvert Journal\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Much as they try, [the characters’] individual stories are mere fodder for the dysfunctional social order built on systemic corruption and terror.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Olga Zilberbourg,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\"A bold and startling novel.\"\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Viv Groskop,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Ganieva's writing has a kind of magic.\"\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e—Lauren Smart, \u003cem\u003eDallas Observer\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464957722787,"sku":"9781941920596","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464957788323,"sku":"9781941920602","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/032-Bride_and_Groom_1.jpg?v=1596661016"},{"product_id":"the-golden-cockerel-amp-other-writings","title":"The Golden Cockerel \u0026 Other Writings","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBy\u003c\/span\u003e \u003ca href=\"http:\/\/deepvellum.org\/authors\/juan-rulfo\/\"\u003e\u003cb\u003eJuan Rulfo\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTranslated from the Spanish by Douglas J. Weatherford\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Juan Rulfo is our most important author.” —Yuri Herrera, author of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSigns Preceding the End of the World\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis work presents Rulfo's cinematic second novel in English for the first time ever alongside several stories never before translated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePublication Date:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e May 16, 2017\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePaperback:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 9781941920589\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Among contemporary writers in Mexico today [1959], Juan Rulfo is expected to rank among the immortals.” —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe New York Times Book Review\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe legendary title novella from one of Mexico’s most influential writers is published here in English for the first time on the 100th anniversary of his birth. This lost masterwork, collected with his previously untranslated stories, marks a landmark event in world literature.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eJuan Rulfo\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e (1917-1986) was one of Mexico’s premier authors of the twentieth century and an important precursor of “magical realism” in Latin American writing. Rulfo has been credited with influencing the work of several generations of Latin American writers, including Sergio Pitol and Gabriel García Márquez. He is well known for his novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePedro\u003c\/span\u003e\u003c\/i\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePáramo\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and short story collection, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Burning Plain\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eEl llano en llamas\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e).\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eDeep Vellum’s forthcoming publication of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Golden Cockerel \u0026amp; Other Writings\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e introduces his cinematic novella, originally made into an award-winning film, into English for the first time, along with a collection of rare, previously untranslated writings. Rulfo received Mexico’s National Prize for Literature (Premio Nacional de Literatura) in 1970, was elected to the Mexican Academy of Language (Academia Mexicana de la Lengua) in 1980, and received the Cervantes Prize (Premio Cervantes), the highest literary award in Spanish, in 1985. Rulfo suffered from lung cancer in his final months and died on January 7, 1986 at his home in Mexico City.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Among contemporary writers in Mexico today [1959], Juan Rulfo is expected to rank among the immortals.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New York Times Book Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“To read Rulfo’s stories is to inhabit Mexico and, in the process, to have Mexico inhabit \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eyou\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.” \u003c\/span\u003e\u003cb\u003e—Oscar Casares, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eNPR\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“You can read Rulfo’s slight but dense body of work in a couple of days, but that represents only a first step into territories that are yet to be definitively mapped. Their exploration is one of the more remarkable journeys in literature.” \u003c\/span\u003e\u003cb\u003e—Chris Power, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rulfo, through his photographs and his books, seems to be saying, Look! See! This world is here before us, it lacerates us with the anguished and ill-fated weight of its tangible reality. Come look!” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eBOMB\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e Magazine\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rulfo’s work is at its core about people who do their best to unburden themselves of the stories they never stop telling.”\u003c\/span\u003e\u003cb\u003e —Peter Orner, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Rumpus\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“…This is a book that is valuable in itself for its expression of the narrative talent of Juan Rulfo…Apart from the first images, which are truly cinematic and serve to introduce the protagonist…the reader soon forgets that he is reading a storyline written for the cinema.” \u003c\/span\u003e\u003cb\u003e—Evodia Escalante, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCasa Del Tiempo\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rulfo’s work is infinitely readable, inventive, and short… \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Golden Cockerel \u0026amp; Other Writings\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e shows Rulfo at his most intellectual and socially aware.” \u003c\/span\u003e\u003cb\u003e—Joshua Foster, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eGulf Coast: A Journal of Literature and Fine Arts\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Octavio Paz has said that Juan Rulfo ‘is the only Mexican novelist who has given us an image—instead of just a description—of our landscape.’ By the same token we could say that Josephine Sacabo is the only photographer who has given us an image of that most elusive of landscapes conceived by Juan Rulfo—Cosala.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eBuenos Aires Herald\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rulfo’s work is infinitely readable, inventive, and short… \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Golden Cockerel \u0026amp; Other Writings\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e shows Rulfo at his most intellectual and socially aware.” \u003c\/span\u003e\u003cb\u003e—Joshua Foster, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eGulf Coast: A Journal of Literature and Fine Arts\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"...This is a book that is valuable in itself for its expression of the narrative talent of Juan Rulfo...Apart from the first images, which are truly cinematic and serve to introduce the protagonist...the reader soon forgets that he is reading a storyline written for the cinema.\" \u003c\/span\u003e\u003cb\u003e—Evodia Escalante, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCasa Del Tiempo\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTHE MORNING WAS BREAKING.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlong the abandoned streets of San Miguel del Milagro, one or two shawl-covered women strolled toward the church, answering the call for first mass. A few others swept the dusty streets.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the distance, far enough away that his words were imperceptible, one could hear the clamor of a crier. One of those town criers that go from street corner to corner shouting the description of some lost animal, of a missing boy, or of a lost girl… In the case of the girl the account went further, since in addition to giving the date of her disappearance it was imperative to announce the likely culprit who had stolen her away, where she had been taken, and whether the parents wanted to object to or accept the arrangement. This was done to keep the town informed of what had happened and to shame the runaways into joining in matrimony… As for the lost animals, the crier would have to go out and search for them himself if announcing their loss came to naught, since otherwise no one would pay for the job.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs the women disappeared in the direction of the church, the crier’s report could be heard even closer, until, stopped on some street corner and projecting his voice through his hands, he launched his shrill and quick-witted chants:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e—Tan-colored sorrel… Of large stature… Five years old… Timid… Mark on its haunch… Branded on the same… Draw reigns… Wandered off the day before yesterday from the Potrero Hondo… Belongs to Don Secundino Colmenero. Twenty pesos reward to whoever finds him… No questions asked…This last sentence was long and out of tune. After a while the crier walked a short ways and repeated the same refrain, until the announcement faded and eventually dissolved into the farthest corners of the village.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe guy who plied this trade was Dionisio Pinzo´n, one of the poorest men of San Miguel del Milagro. He lived in a miserable shack on the edge of town in the company of his mother, an unwell and aged woman, more from want than from years. And even though the appearance of Dionisio Pinzo´n was that of a strong man, in truth he was disabled, with one of his arms disfigured, who knows just how. What’s certain is that this made it impossible for him to complete some tasks, whether as a laborer or as a farmhand, the only occupations that were to be had in town. As such he was good for nothing, or at least that’s how people saw him. And that’s why he dedicated himself to the vocation of town crier, a trade that didn’t require the use of his arms and that he completed quite well, since he had a voice and a willingness to do the job.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere was no corner of San Miguel del Milagro where he didn’t shout his news, perhaps working on commission for some client or, if not, searching for the priest’s scrawny cow that had the bad habit of bolting for the hills every time it discovered the gate to the parish corral open, something that happened all too often. And even when there was no shortage of men out of work who, upon hearing the news, would offer to go in search of the aforementioned cow, there were times when Dionisio would take the task upon himself and receive for his efforts only a few blessings and the promise of collecting some payment in Heaven.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThrough it all, whether he was paid or not, his voice never wavered and he just kept at it since, to be honest, what else could he do to keep from dying of hunger. And yet he didn’t always make it home with his hands empty, like on this occasion when he had the job of announcing the loss of Don Secundino Colmenero’s sorrel, from early in the morning until late at night, when it seemed that his yelling was blending with the barking of the dogs in the sleepy town. In any event, the horse had not turned up by the end of the day, nor was there anyone who could confirm its whereabouts, and Don Secundino wasn’t going to pay up without first seeing his animal napping in the corral, not wanting to throw good money after bad. And yet so that Dionisio Pinzo´n wouldn’t become discouraged and stop announcing his loss, he gave him a tenth of a liter of beans as an advance that the crier wrapped in his scarf and carried home about midnight, which is when he arrived, burdened with hunger and fatigue. And like other times, his mother had managed to prepare him a bit of coffee and some navegantes, which weren’t anything more than parboiled cactus leaves that at least served to fool his stomach.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut things weren’t always so bad. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":43823706210553,"sku":"9781941920589","price":16.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/028-Golden_Cockerel.jpg?v=1597087368"},{"product_id":"moonbath","title":"Moonbath","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBy \u003c\/b\u003e\u003ca data-mce-fragment=\"1\" href=\"http:\/\/deepvellum.org\/authors\/yanick-lahens\/\" data-mce-href=\"http:\/\/deepvellum.org\/authors\/yanick-lahens\/\"\u003e\u003cb data-mce-fragment=\"1\"\u003eYanick Lahens\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTranslated from the French by Emily Gogolak\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eFinalist for the 2018 CLMP Firecracker Award\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAn award-winning, lyrically written, beautifully haunting saga of a Haitian family's fight against a curse spanning four generations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eOctober 3, 2017\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePaperback:\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920565\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eeBook:\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920572\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWinner of the 2014 Prix Fémina \u0026amp; 2015 French Voices Award\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAfter she is found washed up on shore, Cétoute Olmène Thérèse, bloody and bruised, recalls the circumstances that led her there. Her voice weaves hauntingly in and out of the narrative, as her story intertwines with those of three generations of women in her family, beginning with Olmène, her grandmother.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eOlmène, barely sixteen, catches the eye of the cruel and powerful Tertulien Mésidor, despite the generations-long feud between their families which cast her ancestors into poverty. He promises her shoes, dresses, land, and children who will want for nothing…and five months after moving into her new home, she gives birth to a son. As the family struggles through political and economic turmoil, the narrative shifts between the voices of four women, their lives interwoven with magic and fraught equally with hope and despair, leading to Cétoute’s ultimate, tragic fate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eYanick Lahens\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e was born in Port-au-Prince in 1953 and is one of Haiti’s most prominent authors. She published her first novel in 2000, was awarded the prestigious Prix Femina in 2014 for \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eMoonbath\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and is the 2016 winner of a French Voices Award.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eFinalist for the 2018 CLMP Firecracker Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eWinner of the 2014 Prix Fémina \u0026amp; 2015 French Voices Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“A remarkable accomplishment.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAsymptote\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Yanick Lahens adeptly dipped her pen nib in tears to write \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eMoonbath\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e. She brandished her writing instrument with dexterity, creating Cétoute as a metaphor symbolizing both the pain and the promise of Haiti.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Lanie Tankard, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Woven Tale Press\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“In the Haitian tradition of the rural novel […] Yanick Lahens’ \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eMoonbath\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e establishes itself by its grand and lucid beauty.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLe Point\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Lahens’s ambitious fresco of twentieth-century Haiti through the eyes of peasants depicts the first generation with Romain-like incision.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Robert H. McCormick Jr, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Lahens is the most important living female Haitian author in French.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Christiane Makward\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“A novel of violent beauty.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLe Monde\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“[Lahens] describes her country with a forceful beauty — the destruction that befell it, political opportunism, families torn apart, and the spellbinding words of Haitian farmers who solely rely on subterranean powers.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDonyapress\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“One of the finest voices of Haitian contemporary literature.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eL’Ob’s\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Everything is there, the content, powerful, and the style, poetic.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLes Echos\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“The novel’s mythic atmosphere is enhanced by Lahens’ meditations on personified nature, and Emily Gogolak’s translation preserves a bare and moving voice throughout.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Arkansas International\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Power and corruption are ever present, and their pressures—be they sexual or economic or both—are often impossible to reckon with or escape. Though what’s most surprising is the sense that one has waded fully into the world these characters inhabit, a world so alive that I sometimes forgot I was reading a book at all. I’m reminded of first reading Gabriel García Márquez’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eOne Hundred Years of Solitude\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, a book that similarly transported me clean out of my self and into some other world beyond.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Christian Kiefer, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Paris Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“An invigorating and necessary investigation of tradition, politics, loss, and history.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Zeena Yasmine Fuleihan, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePloughshares\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“On every reread of this multigenerational Haitian novel I find more complexity and beauty in its pages.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Cecilia Weddell, Associate Editor of  \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHarvard Review Online\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\n\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/h5\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eYanick Lahens\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e was born in Port-au-Prince in 1953. After attending school and university in France, she returned to Haiti., where she taught literature at the university in Port-au-Prince and worked for the Ministry of Culture. Her first novel was published in 2000, and she won the prestigious Prix Femina for \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eMoonbath\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e in 2014. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEmily Gogolak\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is a journalist focusing on migration, gender, and the US-Mexico border. A former editorial staffer at \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe New Yorker\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e and a James Reston Reporting Fellow at the \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew York Times\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, she now lives in Texas. A graduate of Brown University in Comparative Literature, she is also a literary translator. Her translation of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eMoonbath\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e won a 2015 French Voices Award.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508860518563,"sku":"9781941920565","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508860551331,"sku":"9781941920572","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/029-Moonbath.jpg?v=1596837732"},{"product_id":"eve-out-of-her-ruins","title":"Eve Out of Her Ruins","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Ananda Devi\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTranslated from the French by Jeffrey Zuckerman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWinner of the Neustadt International Prize for Literature, 2024\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWinner of the 2017 CLMP Firecracker Award for Fiction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003eA harrowing account of the hidden violent reality of life in her native country by the figurehead of Mauritian literature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/strong\u003eSeptember 13, 2016\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaperback: \u003c\/strong\u003e9781941920404\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eeBook: \u003c\/strong\u003e9781941920411\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"Devi writes about terrible and bitter events with a soft, delicate voice.\" \u003cspan data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eLe Figaro\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWith brutal honesty and poetic urgency, Ananda Devi relates the tale of four young Mauritians trapped in their country’s endless cycle of fear and violence: Eve, whose body is her only weapon and source of power; Savita, Eve’s best friend, the only one who loves Eve without self-interest, who has plans to leave but will not go alone; Saadiq, gifted would-be poet, inspired by Rimbaud, in love with Eve; Clélio, belligerent rebel, waiting without hope for his brother to send for him from France.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e is a heartbreaking look at the dark corners of the island nation of Mauritius that tourists never see, and a poignant exploration of the construction of personhood at the margins of society. Awarded the prestigious \u003cem data-mce-fragment=\"1\"\u003ePrix des cinq continents\u003c\/em\u003e upon publication as the best book written in French outside of France, \u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e is a harrowing account of the violent reality of life in her native country by the figurehead of Mauritian literature.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003eThe book features an original introduction by Nobel Prize winner J.M.G. Le Clézio, who declares Devi “a truly great writer.”\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAnanda Devi\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e was born in 1957 in Trois-Boutiques, Mauritius, an island notable for its confluence of diverse ethnic, cultural, and linguistic identities. She studied ethnology and anthropology, and completed a doctoral thesis at SOAS in London. After several years in the Congo, she moved to Switzerland in 1989. She has published eleven novels as well as short stories and poetry over her entire career. \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, originally published by the prestigious Gallimard publishing house in France in 2006, was an enormous critical and popular success, winning the Prix des cinq continents de la francophonie for the best novel of the year written in French, previously won by such writers as \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAlain Mabanckou\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMathias Enard\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e. She was made a Chevalier des Arts et des Lettres by the French Government in 2010. Her first novel in English, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eIndian Tango\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, was published by \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHost Publications\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e in 2011. Devi has participated in numerous literary festivals in the US, Europe, and India, and her works have been translated into numerous languages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eJeffrey Zuckerman\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e is Digital Editor at Music \u0026amp; Literature magazine and a translator from French. He has served on the 2016 jury for the PEN Translation Prize, and his translation of \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAntoine Volodine’s\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRadiant Terminus\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is forthcoming from Open Letter Books in 2017. His writing and translations have appeared in Best European Fiction, the Los Angeles Review of Books, the Paris Review Daily, the New Republic, and VICE. \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eJean-Marie Gustave Le Clzio\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e was born in 1940 in Nice, France, but both parents had strong family connections with the former French colony of Mauritius. He is president and long-standing member of the prize jury for the Prix des cinq continents de la francophonie (awarded to Ananda Devis Eve Out of Her Ruins in 2006), and he was awarded the Nobel Prize for Literature in 2008.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWinner of the 2017 CLMP Firecracker Award for Fiction\u003cbr data-mce-fragment=\"1\"\u003eAwarded the \"Prix des cinq continents de la Francophonie\" in 2006\u003cbr data-mce-fragment=\"1\"\u003eIncluded in World Literature Today's \"75 Notable Translations of 2016\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"One of Devi and Zuckerman's greatest triumphs in this book is that each character has their own distinct rhythms, with power and poetry drawn from the cadences of their speech... It could be a manifesto for reading translated fiction, and this stunning short novel is a perfect starting point.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDeborah Smith,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The beauty of Devi's prose belies the horror of the world she conjures up. This is a visceral portrait of violence rendered honestly and gracefully.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePublishers Weekly\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(Starred Review)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“\u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e is a spare, traumatic and enriching novel, newly and superbly translated by Jeffrey Zuckerman... Her characters emerge from the page with arresting immediacy and startling vividness. This is a novel that can take you to fathomless depths.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMatthew Adams,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe National\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Zuckerman's translation is artful... While descriptive, the sparse language adds to the sense of hopelessness and the scarcity in which the characters live.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHannah Wise,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDallas Morning News\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The most vivid novel I’ve read in ages, magnificently translated by Jeffrey Zuckerman. The gorgeous, profoundly poetic writing is completely mesmerizing and viscerally affecting.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJennifer Croft\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The desolate, poor, and often-violent lives of the island’s inhabitants are exposed in the stark and lyrical prose of Ananda Devi’s brief and revealing novel... Devi’s trenchant yet terse prose perfectly captures the lives of these sad and forgotten outcasts from this small island nation.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMelissa Beck,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“A remarkable book that is as much a call to action as it is a love story, Devi beautifully juxtaposes the beauty and despair of the island through her dreamy, ethereal prose, and the audacity of her characters’ ambition.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLaura Farmer,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCedar Rapids Gazette\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Eve’s coping, her delicious revenge and small acts of goodness by other characters give the translation a hopeful tone. Eve sidesteps poverty and abuse — the true antagonists in the novel — and Devi’s poetic writing provides portraits of characters who force their own bodies into mattering.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAllison Cundiff,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSt. Louis Post-Dispatch\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“In this heartbreaking lightning-paced novel, Ananda Devi burns down all of the colonialist stereotypes surrounding the island, instead depicting a place that has been devastated by history and anguish.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAdam Hocker, Staff Pick at Albertine Books\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"A story that stays with the reader long after it's read.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMichael Barron,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Culture Trip\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"A novel of conversations, emotions, aspirations, and setbacks... This is a novel of haunting language with a powerful message about gender and violence.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTerry Pitts,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eVertigo\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Devi’s powerful novel has stuck with me weeks after finishing and Zuckerman’s lively translation captures the intensity of the daily struggle for life the teens face.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCaitlin Baker,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSeattle City Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Zuckerman’s translation is confident and accomplished, capturing the marine clarity of the prose without losing any of its poetic heat.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAnjuli Raza Kolb,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBookforum\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“[Eve’s] journey, harrowing and doomed as it may be, is described with unforgettable poetry and power.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWillard Manus,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLively Arts\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"I\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003erresistable.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGary Kaill,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Skinny\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"This prize-winning novel is a poetic and intense exploration of young lives thrown away by society. Told in four different voices and haunted by the specter of Rimbaud, Devi explores, the violence, identity, and dreams of young people living discarded lives. For fans of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Girl is a Half-Formed Thing\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and Jean Genet.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJosh Cook, Porter Square Books\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Heartbreaking and honest.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Wild Detectives bookstore, Dallas\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The emblematic figurehead of Mauritian literature.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLe Monde\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"One of the most gorgeous things I’ve read in a long time… the book reads as a beautiful and complex chord whose disharmonies combine into something shimmering and fragilely resonant.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSarah McCarry,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Rejectionist\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“With every page, I fall more in love with this book.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLissie Jaquette\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Turning her back on the illusion of eternal youth, Devi focuses unflinchingly on that tipping point in life that only women can understand, since where sex is concerned men and women must forever remain \"mutually unintelligible.\" Yes, here is a truly great writer, since when we finish Devi's book we are unlikely to know what has motivated her to write such a story, such a cry of protest. But its music, its powerful grip on the reader...give us a glimpse inside the cave where once a love-struck monk, under the spell of the dark angel of the imagination, succeeded in creating the miracle all artists dream of, reshaping reality according to his desires.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJ.M.G. Le Clézio,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLe Novel Observateur\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Devi writes about terrible and bitter events with a soft, delicate voice.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLe Figaro\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"One of the major literary voices of the Indian Ocean.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePEN American Centre\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The work of Ananda Devi is both tragic and poetic. Haunted by the issues of exclusion, of otherness, deviance and suffering, it denounces the stifling climate of a society...it stands against any form of rejection and offers a genuine commitment...for the recognition of otherness.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVéronique Bragard\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Through the distinct narratives of four young Mauritians, Ananda Devi unfolds a kaleidoscope of elegiac poeticism and harrowing immediacy, magically bestowing brilliance to the dark and violent corners of their lives.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003etwists the reader’s mind into a brutally honest and heartbreaking knot, which cannot be undone.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Jarrod Annis, Paul Lisicky, and Pia Padukone, Word Bookstore (Brooklyn, NY)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\"The detailing of these lives is like dabs of paint on a watercolour canvas which grows and spreads, hinting at incidents, creating an atmosphere that hangs heavy.\" \u003cstrong data-mce-fragment=\"1\"\u003e—Sumitra Kannan, \u003cem data-mce-fragment=\"1\"\u003eThe Deccan Herald\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\"Devi's succinct graphic sentences, which vividly evoke such events, also convey sensual and even poetic imagery. Poetry remains a permanent, if mostly remote horizon, a sort of reminder of 'something else' in the harsh world in which the characters must survive.\" \u003cstrong data-mce-fragment=\"1\"\u003e—John Taylor, \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eArts Fuse\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"white-space: pre-wrap;\" class=\"\" data-mce-style=\"white-space: pre-wrap;\"\u003e\"\u003cem data-mce-fragment=\"1\"\u003eEve Out of Her Ruins\u003c\/em\u003e is a pleasure to read, with Zuckerman doing excellent work on the variety of voices Devi uses, a vital combination to the success of the novel. Just as much, though, it's the character of Eve that makes the story, an enigmatic figure ghosting through the novel, perhaps best seen when the dark background is set against occasional rays of light and happiness.\" \u003cstrong data-mce-fragment=\"1\"\u003e—Tony Malone, \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTony's Reading List\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35465070346403,"sku":"9781941920404","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35465070379171,"sku":"9781941920411","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/019-Eve_Out_of_Her_Ruins.jpg?v=1596663325"},{"product_id":"blood-of-the-dawn","title":"Blood of the Dawn","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003cstrong\u003eClaudia Salazar Jiménez\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eTranslated from the Spanish by Elizabeth Bryer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAn award-winning debut novel of politics, desire and pain by Peruvian author Claudia Salazar Jiménez. The lives of three women intertwine and are ripped apart during what's known as \"the time of fear\" in Peruvian history, when the Shining Path rebel insurgency was at its peak.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eDecember 6, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920428\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920435\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\u003cem\u003eBlood of the Dawn\u003c\/em\u003e follows three women whose lives intertwine and are ripped apart during what's known as \"the time of fear\" in Peruvian history when the Shining Path militant insurgency was at its peak. The novel rewrites the conflict through the voice of women, activating memory through a mixture of politics, desire, and pain in a lucid and brutal prose.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note \u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eClaudia Salazar Jiménez\u003c\/strong\u003e, born in Lima, Peru, in 1976, one of the most recognized Peruvian writers of her generation, is also a literary critic, professor, cultural manager, and the founder of the literary journal \u003cem\u003eFuegos de Arena\u003c\/em\u003e. She studied literature at the Universidad Nacional Mayor de San Marcos and holds a PhD from NYU. She edited the anthologies \u003cem\u003eEscribir en Nueva York\u003c\/em\u003e (2014) about Hispanic American narrators and \u003cem\u003eVoces para Lilith\u003c\/em\u003e (2011) on contemporary South American women writers and is also the founder and director of PERUFEST, the first Peruvian cinema festival in New York. Her debut novel \u003cem\u003eBlood of the Dawn\u003c\/em\u003e was awarded the Las Americas Narrative Prize in 2014. She also received the TUMI-USA Award in 2015. Her most recent publication is the collection of short stories \u003cem\u003eCoordenadas Temporales\u003c\/em\u003e (2016). She is currently based in New York City.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eReviews\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e“A bold, breviloquent debut novel whose polyhedral story line plunges sans parachute into the bloody chamber of political violence unleashed during the massacre-ridden years in Peru.” \u003cstrong\u003e—Valerie Miles, \u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“With this courageous and necessary novel, Salazar Jiménez refuses to let the stories of the victims of ‘the time of fear’ get away. The violence that permeated Peru in the 1980s and 1990s is unspeakable, which is exactly why it needs to be spoken. That’s what Salazar Jiménez does in this beautiful, horrifying work of art.” \u003cstrong\u003e—Michael Schaub, \u003cem\u003eNPR Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Jiménez’s prose is clear-cut and doesn’t sugarcoat the realities of the insurgence and the effects it had on the people of Peru. When this debut novel was first published in Spanish, Jiménez received the 2014 Americas Narrative Prize. Read it, and you’ll see why.” \u003cstrong\u003e—Cassidy Foust, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Fiery and political debut.” \u003cstrong\u003e—\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003ci\u003eBlood of the Dawn\u003c\/i\u003e is a delirious, harrowing onslaught of mixed allegiances and betrayals, punctuated with machete chops and the machine gun’s staccato call.”  \u003cstrong\u003e—Kenneth Rupp, \u003ci\u003eThe Habitat\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Jiménez’s frequent shifts in scene, tense, and perspective reflect the relentless insecurity wrought by Shining Path’s guerrilla tactics and terrorist acts… English-speaking readers will appreciate the ways in which Bryer’s translation preserves each woman’s unique cadence, reminding us that tragedy is experienced on a individual level, even as it ravages an entire country.” \u003cstrong\u003e—\u003ci\u003eThe Arkansas International\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A brief novel, but an intense one, whose every word flexes with a taut power.” \u003cstrong\u003e— \u003cem\u003eJosh is Writing\u003c\/em\u003e blog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A hair-raising look at violence, women and Perú. Highly recommended. And visceral.” \u003cstrong\u003e—Santiago Roncagliolo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Among the best books of the year . . . Her use of short paragraphs, quotes, photography, testimony and the different voices, turn this death tale into a recovery of the women’s experience. Women are the ones who star in this sum of voices like a tragic chorus.” \u003cstrong\u003e—Julio Ortega, \u003ci\u003eEl Boomeran\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“It’s an original novel. Beyond the polemic topic, \u003ci\u003eBlood of the Dawn \u003c\/i\u003eonly talks about literature. . . . Lyrical and cinematographic. If there are certain things that can’t be (shouldn’t be) told with words, we cannot silence them either.” \u003cstrong\u003e—Sophie Canal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This may one be the first novels to talk about this issue from the women’s point of view, and in a very effective way. . . . \u003ci\u003eBlood of the Dawn \u003c\/i\u003eis an original addition to the abundant literature on this difficult and polemic episode of our recent history.”\u003cstrong\u003e —Javier Agreda, \u003ci\u003eLa República\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This incendiary novel manages to pair an honest look at a social and national trauma with an intimate portrayal of the personal tragedies within.” \u003cstrong\u003e—\u003cem\u003eLibrairie Drawn \u0026amp; Quarterly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Composed of very brief and stylistically varied sections—confession, interrogation, fever dream, prose poem—\u003cem\u003eBlood of the Dawn\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003erapidly switches between narratives, creating a sort of social collage.” \u003cstrong\u003e—Ratik Asokan, \u003cem\u003eThe Nation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003c\/h5\u003e\n\u003cdiv class=\"page\" title=\"Page 5\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page\" title=\"Page 9\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464917942435,"sku":"9781941920428","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464917975203,"sku":"9781941920435","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/022-Blood_of_the_Dawn.jpg?v=1596660794"},{"product_id":"the-outlaw","title":"The Outlaw","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/jon-gnarr\/\"\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Icelandic by Lytton Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe dark final volume of the former Rekyjavík mayor's childhood memoir-trilogy delves into the brutal, relentless despair of his late teens.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMarch 14, 2017\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920527\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920534\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eIn \u003c\/span\u003e\u003cem\u003eThe Outlaw\u003c\/em\u003e\u003cspan\u003e, the third and final volume in his acclaimed trilogy, former Reykjavík mayor and comedian Jón Gnarr returns to face the dark teenage years with his signature humor and candor. Raging with music, poetry, life, loneliness, and questions of right and wrong, Jón, a fourteen-year-old punk rock misfit, is sent to boarding school in the Westfjords region of Iceland. There he decides Crass is the only worthy punk band, discovers an unrequited interest in girls, and chooses drugs and self-harm to cope with mental anguish and intense thoughts of alienation and despair. Two years later he returns to Reykjavík, no longer a naïve adolescent, and recounts the restless years spent drifting through a life of parties, drugs, and anarchy—until it all fades to black. \u003c\/span\u003e\u003cem\u003eThe Outlaw\u003c\/em\u003e\u003cspan\u003e is the devastating anthem to what it means to grow up, to fit in, and to stand out.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"A candid, anecdotal\u003cspan\u003e, and lighthearted approach to political speeches is what propelled Gnarr into popularity in the wake of Iceland’s 2008 financial crisis. His Best Party, composed of punk rockers, campaigned on free towels in all swimming pools and a polar bear for the capital’s zoo, among other things.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eForeign Policy\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“This is a really remarkable coming-of-age story.” \u003cstrong\u003e—Egill Helgason, \u003ci\u003eEyjan.is\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A fantastically successful description of the adolescent’s loneliness … very funny … An incredible story … extremely good.” \u003cstrong\u003e—Kolbrun Bergthorsdottir, \u003ci\u003eKiljan, National TV\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Such pain, intimacy and alienation. This is an utterly incredible book; there isn’t a dull moment anywhere. I have lived in it and I think about it constantly.” \u003cstrong\u003e—Ofeigur Sigurdsson, writer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Several times I had to take off my reading glasses and put the book aside in order to fall about laughing.”\u003cstrong\u003e —Eirikur Stephensen, \u003ci\u003eHerdubreid\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Jon Gnarr’s sincerity is admirable, and some of the narrative is totally priceless … it’s a hugely entertaining book with lots of wonderful stories.” \u003cstrong\u003e—Einar Karason, writer, DV\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Never before has a book like this been written in Iceland. Sad and good, terrible and incredibly informative. It is truly a game-changer.” \u003cstrong\u003e—Thorkatla Adalsteinsdottir, psychologist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A crazy story, so tragic and so funny, unlike anything else. The writer gives so much of himself that he manages to heal old wounds of adolescence as well as make a mother’s heart weep. I wish everybody in the whole world would read this book.” \u003cstrong\u003e—Audur Jonsdottir, writer\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThe aircraft lifted itself from the ground at Reykjavík Airport. It was only the second time I’d been on a plane. I’d gone to Norway with my mother and father. I’d never been to Reykjavík Airport—never flown domestically. I had a limited understanding of Iceland in my mind, and was exceedingly oblivious as to its character. I’d taken a road trip around the country with my parents, but everything seemed utterly identical so I couldn’t work out where I was at any given moment. The county felt somehow alien to me. I could conjure up a picture of Iceland but I couldn’t place myself within that picture. I’d gone all the way to Akureyri, but didn’t have a clue where to find it on a map. And now I was headed to Ísafjörður. I knew nothing about the place and was struggling to imagine what it would be like. I guessed the town would be some podunk place like Búðardalur; given the name, it was safe to assume it must always be freezing cold there in “ice fjord.” I bet people had gardens full of dockweed.\u003c\/p\u003e\n\u003cp\u003eAll kinds of folk were on the plane, adults and children alike. I didn’t know anyone. An older woman was sitting beside me.\u003c\/p\u003e\n\u003cp\u003e“What’s taking you to Ísafjörður?”\u003c\/p\u003e\n\u003cp\u003e“I’m going to Núpur.”\u003c\/p\u003e\n\u003cp\u003e“The boarding school?\u003c\/p\u003e\n\u003cp\u003e“Uuuuh…”\u003c\/p\u003e\n\u003cp\u003eNúpur at Dýrafjörður, to give it its full name? What was it, exactly? I hadn’t seen a picture of the location and had no idea what a boarding school was. I’d never been to such a place. I’d heard stories, though, about kids who’d gone to the boarding school at Laugarvatn, and it sure sounded fun. A mix of being in school and living in a commune. You had a fair amount of freedom, everyone was good friends, and there was plenty of booze. I hoped it’d be like that at Núpur in Dýrafjörður. But Núpur was probably some storage depot for delinquents, some sort of care home that primarily catered to troubled souls. I didn’t quite know if I was a delinquent, but I was close to being one, at least. Delinquents were like me. Although we might not see ourselves as troubled youths, others did. Núpur at Dýrafjörður…the name itself sounded ancient—almost like a foreign language.\u003c\/p\u003e\n\u003cp\u003eI found it fascinating to fly over Iceland and see it from the air. The skies were clear that day so I could see right across the country. Snow-packed mountain slopes, fjords, and then some black blots that were definitely wildernesses…or highlands. I’d never been to the highlands but I’d sometimes heard about people in the news who got lost there. The highlands were dangerous places. Especially in winter. One time, I went camping with Mom and Dad and the family of a man who worked with my father in the police. I had no clue where we were and we had to spend the night in tents and the adults drank alcohol. One guy was really funny; he told me a story about the time he and my father headed to a spring up in the highlands to retrieve the body of a man who’d gotten stuck there over winter. The man was lying face down, and when they arrived they saw that ravens had pecked his ass clean off. The guy told the story like it was the funniest thing; he said it a good job the corpse was face down or the ravens would have gotten his face, taken his eyes, nose and lips. I totally agreed: the lesser of two evils, just, would be to have ravens eat my asshole and not my eyes. It seemed a bit nicer to let ravens peck at your ass than your eyes. They guy burst out laughing and called out:\u003c\/p\u003e\n\u003cp\u003e“Kristinn, remember how much trouble we had getting that body into the car? He was frozen stiff, solid as a rock.”\u003c\/p\u003e\n\u003cp\u003eDad nodded, smiled faintly, and didn’t laugh. He clearly didn’t find it as amusing as his friend did. Perhaps he felt uncomfortable that I was hearing the story. The highlands were no-man’s land, a place no one should go. From the air, they struck me as desolate, black, bereft of humans as far as the eye could see. The friendly lady sitting next to me told me she had not been to Ísafjörður in a long time. She was headed to visit her family. She talked about some places and mentioned some names I didn’t know. The woman tried to explain to me where her family lived and I nodded my head at regular intervals and uttered the occasional “oh, yeah, got it” like I was able to put it all together in my head and follow what she was saying. Önundarfjörður? I had no idea whether it was the name of a fjord or a company. I let the situation keep going this way, nodding as though I knew what the hell she was talking about.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e was born in 1967 in Reykjavík. He formed the Best Party in 2009 and became the mayor of Reykjavík in 2010. His acting work includes the movies \u003cem\u003eThe Icelandic Dream\u003c\/em\u003e and \u003cem\u003eA Man Like Me\u003c\/em\u003e and the television series \u003cem\u003eThe Night Shif\u003c\/em\u003et, which aired on BBC4. As a child, Gnarr was diagnosed with severe mental retardation due to dyslexia, learning difficulties, and ADHD. He nevertheless overcame his hardships and went on to become one of Iceland’s most well-known actors and comedians, and published the first two volumes in his fictionalized autobiography in 2006, \u003cem\u003eThe Indian\u003c\/em\u003e, and 2009, \u003cem\u003eThe Pirate\u003c\/em\u003e (the third volume, \u003cem\u003eThe Outlaw\u003c\/em\u003e will be published in Iceland in fall 2015–Deep Vellum will publish the trilogy in full in 2015-2016).In late 2009 Gnarr formed the joke Best Party with a number of friends with no background in politics. The Best Party, which was a satirical political party that parodied Icelandic politics and aimed to make the life of the citizens more fun, managed a plurality win in the 2010 municipal elections in Reykjavik, and Gnarr became Major of Reykjavik (there’s a great documentary on Gnarr’s campaign, which introduces you to Gnarr’s unique and inspiring personality, called Gnarr). His term as mayor ended in June 2014 and he plans to use his post-mayor years to continue writing and speaking on issues that are most important to him: freedom of speech, human rights, protecting the environment, and achieving international peace. Now that his term as mayor is complete, he has moved to Texas to focus on writing, speaking on issues he holds most dear (world peace, sexual and gender equality, freedoms for writers and journalists), and performing stand-up comedy again\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509417017507,"sku":"9781941920527","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509417083043,"sku":"9781941920534","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/026-The_Outlaw.jpg?v=1597088987"},{"product_id":"a-zero-sum-game","title":"A Zero-Sum Game","description":"\u003cp\u003e\u003cb\u003eBy Eduardo Rabasa\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTranslated from the Spanish by Christina MacSweeney\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis debut from a Mexico-recognized author examines humanity's dark side in a fatalistic satire of consumer society and the cult of the individual.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePublication Date:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e November 29, 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePaperback:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 9781941920381\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eeBook: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e9781941920398\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVilla Miserias is a suburb of a suburb where everyone knows their place and nothing ever changes. Every two years, elections are held for the presidency of the residents’ committee, and every two years there are no surprises. But the balance begins to shift with the arrival of Selon Perdumes and his theory of Quietism in Motion. With his alabaster smile, he uncovers the deepest secrets of the unwary residents, and transforms their fantasies in reality with the help of the loans he offers them. Growing rich from money-lending, Perdumes gradually becomes the spectral power behind the community. But when Max Michels, sunk in an obsessive relationship with the beautiful, black-eyed Nelly, and, struggling to silence the multiple dissenting voices in his head, decides to run for president without Perdumes’ permission, the battle lines are drawn.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a biting satire of contemporary consumer society and the cult of the individual, liberally sprinkled with humor and chilling realism. Rabasa’s clear, steady gaze rests on the sophistry and rationalizations that mask the actual situation where, for all the choices we are offered, we have little power over our destinies. Swift would raise his hat to this debut novelist.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eEduardo Rabasa\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e studied political science at Mexico’s National University (UNAM) where he graduated with a thesis on the concept of power in the work of George Orwell. He writes a weekly column for the national newspaper \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMilenio\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and has translated books of authors like Morris Berman, George Orwell and W. Somerset Maugham. In 2002 he co-founded Sexto Piso, recognized as one of Mexico's leading independent publishers, where he currently serves as editorial director. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero-Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is his debut novel, published in Mexico by Surplus Ediciones (Sur+), in Spain by Pepitas de calabaza, in Argentina by Godot Ediciones, in France by Éditions Piranha, and in the US by Deep Vellum. In 2015, he was selected among the best 20 young Mexican contemporary authors in the Hay Festival's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMéxico20\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e project.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChristina MacSweeney\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a literary translator specializing in Latin American fiction. Her translations of Valeria Luiselli's works were published by Granta and Coffee House Press in 2012 and 2013 and 2015 respectively; her translation of Luiselli's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFaces in the Crowd \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewas a finalist for the Best Translated Book Award in 2015, and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Story of My Teeth\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was a finalist for the same award in 2016 and won the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLos Angeles Times\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e Fiction Prize. Her work has also appeared in the anthologies \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMéxico20\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLunatics, Lovers and Poets: Twelve Stories after Cervantes and Shakespeare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (And Other Stories, 2016). Her most recent published translation, Daniel Saldaña París's \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAmong Strange Victims\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, was published by Coffee House Press in spring 2016, and a short story, \"Piñata,\" by the same author was included in the 2016 National Translation Month publications.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rabasa uses various narrative devices to make a rambunctious journey through the layers of corruption and the various faces of power in a housing complex that could be anywhere.” \u003c\/span\u003e\u003cb\u003e—Jane Ciabattari, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eBBC Culture\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rabasa’s novel is built much like the sprawling housing complex it portrays: a complex but self-contained set of ideas populated by funny and frightening characters. Rabasa has crafted an Orwellian satire of low-level bureaucrats, urban dreamers, and political power.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“With echoes of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e1984\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrave New World\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Rabasa delivers a forceful, hysterical debut that’s one for the political ages. This timely novel riffs on challenges that are at the fore globally—drugs, poverty, and class division. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero-Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a welcome addition to contemporary Mexican literature, with a voice and intellect that is astute and vibrant, providing much-needed commentary on Mexican-American relations and the abuses of capitalism.” \u003c\/span\u003e\u003cb\u003e—Monica Carter, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eForeword Reviews\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Rabasa uses the charged atmosphere to crack dry, wry jokes that manage to lend sympathy to both sides: those in power, who find themselves caught between empowerment and selling out, and those outside of it, who find themselves wanting to be part of a revolution. It’s complex, intense, and would be heavy were the book not so charmingly funny.” \u003c\/span\u003e\u003cb\u003e—Cassidy Foust, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLiterary Hub\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A very impressive piece of work, in particular also in its creative approach to the concept of ‘political fiction’, and in suggesting what fiction can still do.” \u003c\/span\u003e\u003cb\u003e—M.A. Orthofer, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Complete Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“An outstanding political fantasy. Eduardo Rabasa has written a futuristic novel set in the present; its inventiveness is not based on new technologies but rather on new kinds of relationships. It’s a novel about the most complicated of extreme sports: cohabitation.” \u003c\/span\u003e\u003cb\u003e—Juan Villoro, author of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Guilty\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Meticulous, written with a harsh language, this is the portrait of a suffocating microcosm in which hierarchies are fixed by the illusion of a social progress that will never arrive. Rabasa dismantles with precision the mechanisms of a false democracy, in which no political alternative is possible.” \u003c\/span\u003e\u003cb\u003e—Ariane Singer, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLe Monde\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero-Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e...may well be \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ethe \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ebrilliant novel of our time, a book that captures all of the delusion, deceit, and absurdity of a world given over entirely to the dictates of capitalism.  Eduardo Rabasa has written a tragedy, to be sure, a twisted boundary-pushing tragedy that also happens to be insanely funny.”\u003c\/span\u003e\u003cb\u003e —Ben Fountain, author of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eBilly Lynn’s Long Halftime Walk\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A critique like this on the potential pitfalls of democracy rings with an eerily relevant timbre.” \u003c\/span\u003e\u003cb\u003e—Gabriel García Ochoa, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eHarvard Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"The comparisons to \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e1984\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e are inevitable . . . However, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero-Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is closer to \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Brave New World\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e than to Orwellian dystopia.\" \u003c\/span\u003e\u003cb\u003e—Victor Parkas, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEl País\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A compelling mix of satirical humor and chilling realism.” \u003c\/span\u003e\u003cb\u003e—Jen Rickard Blair, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Zero-Sum Game\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e carries readers to regions of the imagination which subtly suggest the best of the Central European tradition. The sensation is as real as it is unsettling and, somehow, after a time, gives rise to an awareness of where we actually are. The prose rests firmly on a set of coordinates that can only be Mexican, revealing a totality of truths that reflect the complex texture of a country and a society immersed in a moment of violent convulsion.\u003c\/span\u003e\u003cb\u003e—Eduardo Lago, author of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eCall Me Brooklyn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Rabasa’s satirical vocation is crystallized in a cumulative effect that at times recalls the transversal cut with which Georges Perec sketched the life of the tenants of a building, or the eagle-eye with which Damián Tabarovsky followed the comings and goings of a leaf that glides over a street of Buenos Aires.\" \u003c\/span\u003e\u003cb\u003e—Guillermo Núñez, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eFrente\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll I ever wanted was to be just another invisible coward, Max Michels silently grumbled as a drop of blood dribbled down his freshly shaved throat. Almost unconsciously, he’d put off until the very last moment the decision that, once taken, seemed as surprising as it was irrevocable. He was about to break the cardinal rule of Villa Miserias: to stand as a candidate in the elections for the president of the residents’ association without the consent of Selon Perdumes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWith the force of a rusty spring unexpectedly uncoiling, the memory of an era before Perdumes’ arrival materialized in his mind. Max clearly recalled the principal feature of the day the modernization began: jubilation at the sight of the dust. There was no lack of people who gladly inhaled the first particles of the future. Poor devils, Max now thought. The dust had never cleared: Villa Miserias was a perpetual work in progress.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt that time the residential estate had functioned like clockwork; it still did, although the model was now completely different. Every two years there were elections for the presidency of the estate’s board. For eleven days, the residents were bombarded with election leaflets. The most distinguished ladies received chocolates and flowers; those of lower standing had to make do with bags of rice and dried beans. In essence, all the candidates were competing to convince the voters they were the one who would make absolutely no alterations to the established order. There was even a physical prototype for those in charge of running the estate that included, in equal measure, the fat, the short, the dark and bald: it was a bearing, a gaze, a malleable voice. There was no friction between the election manifestos and the everyday state of affairs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe foundations of Villa Miserias were conceived on the same basis as Selon Perdumes’ fundamental doctrine: Quietism in Motion. Its forty-nine buildings were constructed using an engineering technique designed to allow shaking while avoiding collapse. The urban blot to which it belonged was prone to lethal earthquakes, but the flexible structure of the buildings had prevented catastrophe on more than one occasion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the time before the reforms, all the apartments had been identical; now they were symmetrically unequal. Each building had ten in total, distributed in inverse proportion to the corresponding floor. In general, the demography was also predictable: in the tiny apartments on the lowest floor, multiple generations of humans and animals lived together. In contrast, the penthouse apartments were usually inhabited by young executives with or without wives and children.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464638660771,"sku":"9781941920381","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464638693539,"sku":"9781941920398","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/021-Zero_Sum_Game.jpg?v=1596659676"},{"product_id":"the-magician-of-vienna","title":"The Magician of Vienna","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBy\u003c\/b\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/sergio-pitol\/\" data-mce-fragment=\"1\" data-mce-href=\"http:\/\/deepvellum.org\/authors\/sergio-pitol\/\"\u003e \u003cb data-mce-fragment=\"1\"\u003eSergio Pitol\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTranslated from the Spanish by George Henson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eNominated for the 2018 Best Translated Book Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIn this Cervantes Prize-winner, fiction invades autobiography—and vice versa—as Pitol writes to forestall the advancement of degenerative memory loss.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePublication Date:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e March 21, 2017\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePaperback: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e9781941920480\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eeBook:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920497\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"We can read \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Magician of Vienna\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e not just as a work of literature but as one of the Holy Books in which we store humanity’s imaginary.” —Mario Bellatin, author of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBeauty Salon\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe heartbreaking final volume in Sergio Pitol's groundbreaking memoir-essay-fiction-hybrid \"Trilogy of Memory\" finds Pitol boldly and passionately weaving fiction and autobiography together to tell of his life lived through literature as a way to stave off the advancement of a degenerative neurological condition causing him to lose the use of language. Fiction invades autobiography—and vice versa—as Pitol writes to forestall the advancement of degenerative memory loss.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Pitol’s writing – the way he constructs sentences, inflects Spanish, twists meanings and stresses particular words – reflects the multiplicity of languages he has read and embraced. Reading him is like reading through the layers of many languages at once.” —Valeria Luiselli, author of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Story of My Teeth\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSergio Pitol Demeneghi\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is one of Mexico's most acclaimed writers, born in the city of Puebla in 1933. He studied law and philosophy in Mexico City. He is renowned for his intellectual career in both the field of literary creation and translation and is renowned for his work in the promotion of Mexican culture abroad, which he achieved during his long service as a cultural attaché in Mexican embassies and consulates across the globe. He has lived perpetually on the run: he was a student in Rome, a translator in Beijing and Barcelona, a university professor in Xalapa and Bristol, and a diplomat in Warsaw, Budapest, Paris, Moscow and Prague. Pitol is a contemporary of the most famous authors of the Latin American \"Boom\" and began publishing novels, stories, criticism, and translations in the 1960s. In recognition of the importance of his entire canon of work, Pitol was awarded the two most important prizes in the Spanish language world: the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages) and the Cervantes Prize, the most prestigious literary prize in the Spanish language world, often called the \"Spanish language Nobel,\" in 2005. Deep Vellum will publish Pitol's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTrilogy of Memory\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e in full in 2014-2015 (\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Art of Flight; The Journey;\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e and The\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e Magician of Vienna\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e), marking the first appearance of any of Pitol's books in English.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eGeorge Henson\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a literary translator and assistant professor of translation at the Middlebury Institute of International Studies in Monterey. His translations include Cervantes Prize laureate Sergio Pitol’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTrilogy of Memory\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Heart of the Artichoke\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e by fellow Cervantes recipient Elena Poniatowska, and Luis Jorge Boone’s \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCannibal Nights\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. His translations have appeared variously in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Paris Review, The Literary Review, BOMB, The Guardian, Asymptote,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eFlash Fiction International\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. In addition, he is a contributing editor for \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWorld Literature Today\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e and the translation editor for its sister publication \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLatin American Literature Today\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eNominated for the 2018 Best Translated Book Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eReceived the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAuthor Sergio Pitol was awarded the Miguel de Cervantes Prize in 2005 for a lifetime of literary contributions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Pitol is a writer of another kind: his importance lies on the page, in the creation of his own world, in his ability to shed light on the world.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Daniel Saldaña Paris, author of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAmong Strange Victims\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Pitol is probably one of Mexico’s most culturally complex and composite writers. He is certainly the strangest, most unfathomable and eccentric. . . . [His] voice . . . reverberates beyond the margins of his books.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Valeria Luiselli, author of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFaces in the Crowd\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Reading him, one has the impression . . . of being before the greatest writer in the Spanish language in our time.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Enrique Vila-Matas\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Reading Sergio Pitol will make any serious writer want to write—and write better. . . . In Pitol’s life and his writing, neither images nor thoughts flow naturally and automatically to their logical associations.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e3:AM Magazine\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Sergio Pitol is a legendary Mexican writer, whose ability and fame are best explained by noting that he has won both the Herralde and Cervantes Prizes.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Tony Malone, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTony’s Reading List\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Sergio Pitol is not only our best active storyteller, he is also the bravest renovator of our literature.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Álvaro Enrigue, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLetras Libres\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Art of Flight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e has none of the obsessive, Proustian detail of Knausgaard, or the metafiction of Lerner. It resists the light-heartedness of Bolaño’s depictions of youth and escapades, and the moroseness of Hemingway. Instead, it resembles a cloudy gemstone: at once glimmering and opaque, layered and precise.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Rosie Clarke, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMusic \u0026amp; Literature\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Art of Flight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is an homage to the value of stepping out of your comfort zone, to the difficult imperative of staying true to yourself, to living a life consumed with an intense quest for knowledge and perfection, and above all, a paean to a love of life and the power of books.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Jennifer Smart, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Dallas Observer\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“A dense, fascinating world, both familiar and strange, a world where different times, spaces, texts, journeys, ideas, and memories fuse and re-create one another.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Rafael Lemus, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eReview: Literature and Arts of the Americas\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Art of Flight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e reads like a long overdue celebration for a timeless art form that is constantly changing, constantly reinventing itself through the years, but rest assured, will never die.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Aaron Westerman, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTypographical Era\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Art of Flight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is a book bursting with energy and curiosity. It is a collection of observations, set of diaries, travelogue and much more. It defies categorisation and cannot be summarised. Only experienced.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Tulika Bahadur, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOn Art and Aesthetics\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e“Pitol is an inspiring teacher, and the experience of reading \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Journey\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e is akin to conversing with an admired professor, after which one hastily jots down the myriad writers and books mentioned in hopes of retroactively catching up on missed references. It feels like an honor as well to stumble on notes Pitol makes for future novels—as if we’re trusted confidants.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Anne Posten, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Witty, engaging, and regularly dizzying with its shifts between the real and the absurd, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Journey\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e lives up to Pitol’s reputation as one of Mexico’s most intriguing writers.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Pitol is a tactful writer who masterfully handles hundreds of different subjects in a compact, novel-like form. . . . One of his great strengths is to turn from comic sentences to those of poetic resonance with a seamless and subtle finesse....this and the preceding volume—\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e[The] Art of Flight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e—are some of the best to be published by a small press in the last few years.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Matt Pincus, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBookslut\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Simultaneously bewildering and fascinating. . . . To close \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Journey\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, indeed, is to feel as if a dream has ended and the reader is finally returning to the real world with its harsh surfaces and clear light.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Jeffrey Zuckerman, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Quarterly Conversation\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"In order to enjoy \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe Journey\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, the second volume of revered Mexican author Sergio Pitol’s idiosyncratic autobiographical trilogy, the reader must abandon expectations: of genre, of structure, of distinctions between the aesthetic “truth” of dreams and fiction, and truth in the sense of literal accuracy. Those who take this leap will find Pitol a warm companion and an erudite guide through both his own artistic process and a compelling moment in history that has much to say to our own.\" \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Anne Posten, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\"Its richness and complexity as a book of memories and ideas are unmatched by any other work of literature written in Spanish in the last 25 years and available in English.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Ignacio Sánchez Prado, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Los Angeles Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eOnly connect…\u003c\/span\u003e\u003c\/p\u003e\n\u003col data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e M. FORSTER\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eTHE MIMETIC APE. Reading Alfonso Reyes revealed to me, at the appropriate time, an exercise recommended by one of his literary idols, Robert Louis Stevenson, in his \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLetter to a Young Gentlemen Who Proposes to Embrace the Career of Art\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, consisting of an imitation exercise. He himself had practiced it, and with success, during his period of apprenticeship. The Scottish author compared his method to the imitative aptitude of monkeys. The future writer should transform himself into an ape with a high capacity for imitation, should read his preferred authors with an attention closer to tenacity than delight, more in tune with the activity of the detective than the pleasure of the aesthete; he should learn by which means to achieve certain results, to detect the efficacy of some formal processes, study the handling of narrative time, of tone, the organization of details in order to apply those devices later to his own writing; a novel, let us say, with a plot similar to that of the chosen author, with comparable characters and situations, where the only liberty allowed would be the employment of his own language: his, that of his family and friends, perhaps his region’s; “the great school of training and imitation,” added Reyes, “of which the truly original Lope de Vega speaks in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLa Dorotea\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eHow do you compose? I read,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand what I read, I imitate,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand what I imitate, I write,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand what I write, blot out,\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eand then I sift the blottings-out.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAn indispensable education, provided the budding writer knows to jump from the train at the right moment, untie whatever tethers him to the chosen style as a starting point, and knows intuitively the right moment at which to embrace everything that writing requires. \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509310849187,"sku":"9781941920480","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509310914723,"sku":"9781941920497","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/025-The_Magician_of_Vienna.jpg?v=1597087815"},{"product_id":"of-darkness","title":"Of Darkness","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/josefine-klougart\/\"\u003e\u003cstrong\u003eJosefine Klougart\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Danish by Martin Aitken\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eNominated for the 2019 International Dublin Literary Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eKlougart mixes prose, lyric essay, drama, poetry, and images to meditate on death and loss through breathtaking, moving, apocalyptic writing.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date\u003c\/strong\u003e: February 7, 2017\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920503\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920510\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003eNominated for the 2019 International Dublin Literary Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Klougart has an unusual ability to create phrases, images and a language that you long to stay in and remember forever.\" —\u003cem\u003eDagens Nyheter\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"One can speak of unbearable beauty, but one can also speak of a linguistic beauty that makes it possible to bear the unbearable.\" —\u003cem\u003ePolitiken\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn this genre-bending apocalyptic novel Josefine Klougart fuses myriad literary styles to breathtaking effect in poetic meditations on life and death interspersed with haunting imagery. Her experimental novel asks readers to reconsider death, asserting sorrow and loss as beautiful and necessary aspects of living.\u003c\/p\u003e\n\u003cp\u003eHailed as \"the Virginia Woolf of Scandinavia,\" Klougart mixes prose, lyric essay, drama, poetry, and images to breathtaking effect in her writing, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOf Darkness \u003c\/em\u003emarks the arrival of a wholly new literary talent in world literature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJosefine Klougart \u003c\/strong\u003e(b. 1985) made her literary debut in 2010 with the novel\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRise and Fall\u003c\/em\u003e, which was nominated for the prestigious Nordic Council Literature Prize. Her third novel,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOne of Us is Sleeping\u003c\/em\u003e, forthcoming from Open Letter Books in summer 2016, was also nominated for a Nordic Council Literature Prize, making her the youngest author ever nominated twice for this prominent prize. Her fourth and most recent novel,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOf Darkness\u003c\/em\u003e, appeared in Denmark in 2014 to universal critical acclaim and became a massive bestseller in Denmark and Norway.\u003c\/p\u003e\n\u003cp\u003eTranslator\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMartin Aitken \u003c\/strong\u003ehas won numerous awards for his translations of Danish literature, and he is currently working with Karl Ove Knausgaard to translate the final volume of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMy Struggle \u003c\/em\u003eand his nonfiction.\u003c\/p\u003e\n\u003ch5\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"A critically acclaimed young voice in current Scandanavian Literature, Klougart…writes beautifully… \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOf Darkness\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a meditative look at loss, love, pain, living, and mortality.\" \u003cmeta charset=\"utf-8\"\u003e \u003cstrong data-mce-fragment=\"1\"\u003e—Daniel Haeusser\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"A fragmentary meditation on death and decay, \u003cem\u003eOf Darkness\u003c\/em\u003e by Josefine Klougart stretches the concept of fictional narrative to its very limits. She redefines the novel in the process...\u003ci data-mce-fragment=\"1\"\u003eOf Darkness\u003c\/i\u003e is a tour de force in creative destruction. But from these disparate shards emerge a story about human resilience in the face of disease and death.\" —\u003cstrong\u003eKarl Wolff, \u003cem\u003eNY Journal of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“She has an unusual ability to create phrases, images and a language that you long to stay in and remember forever.” \u003cstrong\u003e—\u003ci\u003eDagens Nyheter\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Josefine Klougart writes dazzlingly beautiful. . . . Klougarts literature is ambitious and demanding, but truly rewarding.” \u003cstrong\u003e—\u003ci\u003eGöteborgs-Poste\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Scandinavia has its own Virginia Woolf. Few come closer to the human condition than Klougart.” \u003cstrong\u003e—\u003ci\u003eVG\u003c\/i\u003e (Norway)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“One can speak of unbearable beauty, but one can also speak of a linguistic beauty that makes it possible to bear the unbearable.” \u003cstrong\u003e—\u003ci\u003ePolitiken\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eAll that the eyes see, upon which a gaze falls.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA bag someone places on the floor is: a bag someone places on the floor. All things remain as things, and in that way they are here. The room is not disrupted, the chronology is not disrupted—none of its constituent parts have ever been together in that way. The way I have always been she, and you have always been he. There isn’t necessarily any problem in that. A movement in and out of our bodies, a recollection returned, wandering back and forth between us. Or an anger no one understands. A common reservoir, the increasingly threadlike capillaries of the veins; something proceeding through time, then turning back.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll sounds are quite as distinct. All voices can be heard, and as such none enjoys priority.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA whisper is as clear as a shout. Something serves to amplify the weaker sounds and lengthen the louder ones so that we may hear them. The eyes decide for themselves what they want to observe.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThat may be a comfort.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe ceiling, like the spine of a crouching animal. The duality of movement: inwards and outwards; down to the floor, then up. A whisper, and the space expands. Or: a whisper, and the space is compressed.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNot focusing on anything allows things to emerge more clearly. The ways in which they connect—with the eyes that see, and the bodies that listen. The fact of the eye requiring distance in order for an image to come together again in a new way.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePlains and skin. Coasts, cuticles.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSuch leaps, on all imaginable scales.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSound and image work on their own, independently. A thing such as distance. What can distances be measured against. A sky. A sail we have stretched out between walls. The arching vaults of cathedrals.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAnd the same goes for time, the past mingling with what is; the salient past that is here, and all that is yet to come: here.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe will of the image, and the will of sound. A liberation of the different planes.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFor instance:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe image of a beach, a broad belt of sand in panorama. There are no people in sight, we see only beach, sea, sky. Presently we hear two voices, a man and a woman talking. We hear them clearly, their voices rise with ease above the clamour of the waves.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNext, they enter the frame, and the image splits into two images superimposed: the beach before and the beach now; before him and after him, before her and after her; everything that happened here will happen here—happens here. Death is perhaps merely a displacement, the same as silence. A moment’s imprudence and then again: here.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eJosefine Klougart \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eis considered one of the major voices of contemporary Scandinavian literature, hailed as “one of the most important writers, not just of her generation, but of her time.” Klougart’s debut novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRise and Fall\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and her third novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne of Us Is Sleeping\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, both received Nordic Council Literature Prize nominations, making her the first Danish author ever to have two of her first three books nominated for Scandinavia's most prestigious award. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne of Us is Sleeping\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was published in its English translation by Open Letter Books in 2016. Her fourth novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOf Darkness\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, appeared in 2014 to massive critical acclaim throughout Scandinavia, and will be published in English by Deep Vellum in early 2017.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong\u003eMartin Aitken\u003c\/strong\u003e is an award-winning translator of Danish literature. His work includes novels by such authors such as \u003cstrong\u003ePeter Høeg, Helle Helle, Pia Juul,\u003c\/strong\u003e and \u003cstrong\u003eKim Leine,\u003c\/strong\u003e and he has been awarded the American-Scandinavian Foundation’s Nadia Christensen Translation Prize, and was longlisted for both the Independent Foreign Fiction Prize and the IMPAC Dublin Literary Award. He is currently translating from the Norwegian of the sixth book in \u003cstrong\u003eKarl Ove Knausgaard’s\u003c\/strong\u003e highly acclaimed \u003cem\u003eMy Struggle\u003c\/em\u003e sextology.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508875624611,"sku":"9781941920503","price":18.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508875657379,"sku":"9781941920510","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/024-Of_Darkness.jpg?v=1597065189"},{"product_id":"recitation","title":"Recitation","description":"\u003cp\u003eBy \u003ca href=\"http:\/\/deepvellum.org\/authors\/bae-suah\/\"\u003eBae Suah\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTranslated from the Korean by Deborah Smith\u003c\/p\u003e\n\u003cp\u003eThe meeting between a group of emigrants and a mysterious, wandering actress in an empty train station sets the stage for Bae Suah's fragmentary yet lyrical meditation on language, travel, and memory. As the actress recounts the fascinating story of her stateless existence, an unreliable narrator and the interruptions of her audience challenge traditional notions of storytelling and identity.\u003c\/p\u003e\n\u003cp\u003ePublication Date: January 24, 2017\u003c\/p\u003e\n\u003cp\u003ePaperback: 9781941920466\u003c\/p\u003e\n\u003cp\u003eeBook: 9781941920473\u003c\/p\u003e\n\u003ch5\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e\"Bae Suah offers the chance to un-know—to see the every-day afresh and be defamiliarized with what we believe we know—which is no small offering.\" —\u003ci\u003eMusic \u0026amp; Literature\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eThe meeting between a group of emigrants and a mysterious, wandering actress in an empty train station sets the stage for \u003ci\u003eRecitation\u003c\/i\u003e, a fragmentary yet lyrical meditation on language, travel, and memory by South Korea's most prominent contemporary female author. As the actress recounts the fascinating story of her stateless existence, an unreliable narrator and the interruptions of her audience challenge traditional notions of storytelling and identity.\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eBiographical Note\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003eBae Suah, born in Seoul in 1965, is one of the most highly acclaimed contemporary Korean authors, with over ten short story collections and five novels to her name. She received the Hanguk Ilbo literary prize in 2003 and the Tongseo literary prize in 2004. She has also translated several books from the German, including works by W. G. Sebald, Franz Kafka, and Jenny Erpenbeck. \u003ci\u003eNowhere to be Found\u003c\/i\u003e, translated by Sora Kim-Russell, was the first of her books to appear in English, and was longlisted for a PEN Translation Prize and the Best Translated Book Award.\u003c\/p\u003e\n\u003cp\u003eDeborah Smith received a PhD in contemporary Korean literature at SOAS (University of London) in 2016. Her literary translations from the Korean include two novels by Han Kang (\u003ci\u003eThe Vegetarian\u003c\/i\u003e, which won the 2016 Man Booker International Prize, and \u003ci\u003eHuman Acts\u003c\/i\u003e) and two by Bae Suah, (\u003ci\u003eA Greater Music\u003c\/i\u003e and \u003ci\u003eRecitation\u003c\/i\u003e). She also recently founded Tilted Axis Press to bring more works from Africa, Asia, and the Middle East into English. She lives in London.\u003c\/p\u003e\n\u003ch5\u003eReviews\u003c\/h5\u003e\n\u003cp\u003e\"Bae Suah offers the chance to unknow—to see the everyday afresh and be defamiliarized with what we believe we know—which is no small offering.\" —Sophie Hughes, \u003ci\u003eMusic \u0026amp; Literature\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"Bae dissolves conventional ­linear narrative, as though it were impossible for cause and effect to exist concurrently with such repression.\" —Joanna Walsh, \u003ci\u003eThe National\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“A challenging yet cognitively engaging and rewarding read.” —David Cooper, \u003ci\u003eThe New York Journal of Books\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003ci\u003eNowhere to Be Found\u003c\/i\u003e [Bae's first novel translated into English] is a psychological novella, but in the most engaging manner, emotionally and aesthetically. Bae presents a psyche, in living depth, without psychoanalyses, without the pretense that psyches are chartable.\" —PT Smith, \u003ci\u003eQuarterly Conversation\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e“It’s beautiful to read, with the flowing monologues, excellently written, allowing you to lose yourself in the text.” —Tony Malone, \u003ci\u003eTony's Reading List\u003c\/i\u003e\u003c\/p\u003e\n\u003ch5\u003eExcerpt\u003c\/h5\u003e\n\u003col\u003e\n\u003cli\u003eKyung-hee said that in her hometown, she’d been a theatre actor specialising in recitation\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSeveral times already now, she’d had the idea of visiting the houses she’d left behind. Grasshoppers spring up around her feet, transparent carapaces propelled into the air as she crosses the dirt yard and approaches the cement buildings, their desiccated structures hard and dry as stale bread, and riddled with holes. She peers through the window into the ground-floor flat, where a naked bulb casts a cold, orange light. Objects devoid of life or utility crowd the interior. A table, a cupboard. A vase, a bed. Chairs. Clothes lacking bodies to give them shape. The chill impression of that dearly missed tenement flat, whose occupants were only ever passing through. In reality, though, she never once went back to any of these places she’d left behind, and there was something of the fantastic about these still-lives, constantly re-rendered yet only ever existing in the imagination, like a hometown whose precise location has grown uncertain over time. Kyung-hee enjoyed talking about the various houses she’d lived in. This one was in that city and that one was in this, some days they would breach the surface of the present with all the suddenness of a cloud of dust whisking up into the air, in the heart of a bygone city to which no name can now be put, some unforeseeable instant. Such cities thicken and coalesce, appearing in front of an audience in the guise of blind women. Blind women leading groups of black pigs, blind country women singing, their earlobes crudely pierced, a woman who is both a mother and a thief, a blind peddler woman standing in front of the house. Before the curtain went up, as the prima donna stepped out onto the black, sticky floorboards of the stage, the director pressed a white stick into her hand, saying: to really inhabit this role, from this moment onwards you are blind…\u003c\/p\u003e\n\u003cp\u003eKyung-hee told us about the groups of peddlers who wandered up and down in the square near where she lived, hawking Rolexes. Adding, but obviously they were fakes. First they approached a tall, smartly dressed young man, then tried their luck with a group of bashful girls, probably students at a women’s-only college, and asked whether they weren’t perhaps in need of a watch. Because they’d broached the topic in such an off-hand manner, as if it didn’t really matter to them either way, and because their introverted, extremely un-businesslike body language managed to make them seem somehow above such things as commercial transactions, it didn’t immediately occur to the travellers that these were unlicensed sellers peddling fake watches. Having just arrived in some faraway country, and feeling as though they’d finally awakened from that deep, soporific stupor known as day-to-day existence, the travellers marvel at the novel perspective they now encounter, so very other from those they’d previously known; nothing could be further from their minds than the purchase of a watch, but now they hear footsteps coming to a stop in front of them; the cause of these footsteps comes closer, touches their eyes, their whispering lips seeming liable to inhale the travellers’ souls. Eight hundred for one, a thousand for two. Kyung-hee herself wasn’t sure of the denomination.\u003c\/p\u003e\n\u003cp\u003eWe first met Kyung-hee in front of Central Station, after the last train had just pulled in. It was summer, late at night, and the taxi drivers were striking yet again. There had already been several announcements over the station’s P.A. system directing passengers to the temporary bus stop nearby, but we assumed that Kyung-hee couldn’t catch the meaning, as she was still sitting on her big suitcase when all the other passengers had disappeared. She was wearing a long-sleeved denim jacket over a pigeon-grey dress; she looked exhausted, but not to the point of having lost that tension or agitation peculiar to travellers. Feeling unaccountably friendly, we offered to accompany her to whichever hotel or hostel she was planning to stay at. But Kyung-hee’s answer was that she didn’t have a reservation at any hotel or hostel in this city; she’d merely arranged to meet someone at the station, but he seemed to have forgotten their appointment, or else something had come up to prevent him from keeping it. He wasn’t someone Kyung-hee knew directly; they’d been introduced through a mutual friend who lived in Vienna, and he’d agreed to let Kyung-hee use his living room for a few days, though now of course he hadn’t shown up. We’ve never seen each other in the flesh, you see, but we’re both part of a community of wanderers who let out their homes free of charge, Kyung-hee explained. If someone comes to visit whichever city I happen to be living in, then I provide them somewhere to stay, and then when I go travelling, other people in other cities will let me use their living room, veranda, guest room, an attic or even, on the off chance that they have one, a barn. It all depends on their individual circumstances. So I know nothing about these people aside from their name and the city they live in, and if something comes up so that they can’t come and meet me, well, that’s unfortunate, but there’s nothing to be done. I just have to spend the night at the station, then take the first train to another city the following morning.\u003c\/p\u003e\n\u003cp\u003eOur curiosity had been piqued, so we stayed and talked with Kyung-hee a little further; in the end, our conversation went on for much longer than we’d initially anticipated, until we impulsively invited Kyung-hee to come and spend a few days with us. Of course, this had absolutely nothing to do with the fact that Kyung-hee came from the same city as we did! After all, it was such a long time ago that we’d emigrated. We’d been perfectly happy to forget the city we’d left behind, our forgetting was by now almost complete, and even the threadbare skeins of faded memories, which we’d used to wear like uniforms of sorrow, had, in time, slipped furtively from our withered shoulders. Our first impression was that Kyung-hee’s travelling was entirely aimless, quite unlike our own one-off relocation, which we’d undertaken specifically in order to die in a city other than the place of our birth. Her ethnicity wasn’t apparent at first, and like I said, we didn’t care. Judging from her talk about the various cities she’d lived in, we simply pegged her as northern Chinese or Mongolian, or perhaps, though this wasn’t very likely, a member of some Siberian tribe. We’d never personally met a woman from Mongolia or northern China, or, for that matter, from some Siberian tribe, but we thought we’d noticed the tell-tale traces in Kyung-hee’s high cheekbones, and that characteristic northern expressionlessness which, at certain moments, crept over the upper part of her face. But we were mistaken.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509112406179,"sku":"9781941920466","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509112438947,"sku":"9781941920473","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/023-Recitation.jpg?v=1597067048"},{"product_id":"heavens-on-earth","title":"Heavens on Earth","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy Carmen Boullosa \u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTranslated from the Spanish by Shelby Vincent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003eThree narrators from different historical eras are each engaged in preserving history in Carmen Boullosa's \u003cem data-mce-fragment=\"1\"\u003eHeavens on Earth.\u003c\/em\u003e As her narrators sense and interact with each other over time and space, Boullosa challenges the primacy of recorded history and asserts literature and language's power to transcend the barriers of time and space in vivid, urgent prose.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date: \u003c\/strong\u003eOctober 10, 2017\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaperback:\u003c\/strong\u003e 9781941920442\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eeBook:\u003c\/strong\u003e 9781941920459\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrom Carmen Boullosa, winner of Mexico’s prestigious Xavier Villaurrutia Award, comes\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eHeavens on Earth\u003c\/em\u003e, a testament to the power of the written word in transcending political, racial, and cultural barriers to create and preserve history. Lear, officially known as 24, lives in L’Atlàntide, a utopian post-apocalyptic society placing increasing limits on the use of language. Steadfast in her resistance to new regulations and pressure to conform, Lear continues to transcribe the writings of Don Hernando, a 16th century Indian priest, and of Estela in the 20th century, an early translator of Don Hernando’s work. Though separated by time and space, Lear and Estela find strength in Hernando’s words, ultimately rebelling against their respective societies in a struggle for remembrance.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eCloud Atlas\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003emeets\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSavage Detectives\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein Carmen Boullosa’s Heavens on Earth as three narratives thread together in a captivating exploration of memory, language, and humanity.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCarmen Boullosa\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e is one of Mexico's leading novelists, poets, and playwrights. She has published over a dozen novels, two of which were designated the Best Novel Published in Mexico by the prestigious magazine \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReforma\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e—her second novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBefore\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, also won the renowned Xavier Villaurrutia Prize for Best Mexican Novel; and her novel \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLa otra mano de Lepanto\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e was also selected as one of the Top 100 Novels Published in Spanish in the past 25 years. Her most recent novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTexas: The Great Theft\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e won the 2014 Typographical Era Translation Award, was shortlisted for the 2015 PEN Translation Award, and has been nominated for the 2015 International Dublin Literary Award. Boullosa has received numerous prizes and honors, including a Guggenheim fellowship. Also a poet, playwright, essayist, and cultural critic, Boullosa is a Distinguished Lecturer at City College of New York, and her books have been translated into Italian, Dutch, German, French, Portuguese, Chinese, and Russian.\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eShelby Vincent\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e received her PhD in Literary Translation from the University of Texas at Dallas's School of Arts and Humanities in 2015. She is currently translating another of Boullosa's novels entitled \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Virgin and the Violin\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, which is loosely based on the female Renaissance artist Sofonisba Anguissola, and which Deep Vellum will publish in 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eReviews\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“[Boullosa] is witty, wacky, iconoclastic, post-modern and thoroughly original.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eThe Modern Novel \u003c\/em\u003eblog\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Mexico’s best woman writer.” \u003cstrong data-mce-fragment=\"1\"\u003e—Roberto Bolaño\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A luminous writer . . . Boullosa is a masterful spinner of the fantastic.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eMiami Herald\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Carmen Boullosa writes with a heart-stopping command of language.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Alma Guillermoprieto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“I don’t think there’s a writer with more variety in themes and focuses in his or her writing. . . . The style and range of Carmen Boullosa is unique for its versatility and its enormous courage.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Juan Villoro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e” . . . a cross between W. G. Sebald and Gabriel García Márquez.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The world of Carmen Boullosa is revealed as a sui generis form weathering the storms of history.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eLetras Libres\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Carmen Boullosa is, in my opinion, a true master.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Alvaro Mutis, author of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Adventures and Misadventures of Maqroll\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“The book occupies a Borgesian tradition in which possible and impossible exist simultaneously in one text.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJohn Trefry, \u003cem data-mce-fragment=\"1\"\u003eFull Stop\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Read Boullosa because she is a masterful commander of fantastic language.” \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eM. Bartley Seigel, \u003cem data-mce-fragment=\"1\"\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508692058275,"sku":"9781941920442","price":16.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508692091043,"sku":"9781941920459","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/030-Heavens_on_Earth.jpg?v=1596836432"},{"product_id":"the-curious-case-of-dassoukines-trousers","title":"The Curious Case of Dassoukine's Trousers","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/fouad-laroui\/\"\u003e\u003cstrong\u003eFouad Laroui\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the French by Emma Ramadan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAn award-winning English-language debut by Morocco's most prominent contemporary author exploring what it means to be foreign.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eJune 28, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920268\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920275\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThis long-awaited English-language debut from Morocco's most prominent contemporary writer won the Prix Gouncourt de Nouvelles, France's most prestigious literary award, for best story collection. Laroui uses surrealism, laugh-out-loud humor, and profound compassion across a variety of literary styles to highlight the absurdity of the human condition, exploring the realities of life in a world where everything is foreign.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFouad Laroui \u003c\/strong\u003ehas published over twenty novels and collections of short stories, poetry, and essays. Laroui teaches econometrics and environmental science at the University of Amsterdam, and lives between Amsterdam, Paris, and Casablanca.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eWinner of the Prix Goncourt de Nouvelles, France's most prestigious literary prize for a short story collection\u003cbr\u003eIncluded in \u003cem\u003eWorld Literature Today\u003c\/em\u003e's \"75 Notable Translations of 2016\"\u003cbr\u003eOne of \u003cem\u003eLiterary Hub\u003c\/em\u003e's \"Books to Read this May\"\u003cbr\u003eOne of \u003cem\u003eAsbury Park Press\u003c\/em\u003e's \"Books to Read this Summer\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Few writers can match the ingenuity and frenetic energy that Laroui, a leading Moroccan economist, summons in this collection, winner of France's Prix Goncourt for short fiction. . . . However absurd the content of these stories, the bitter legacy of colonialism is impossible to avoid. Laroui is at his most riveting when he seeks to complicate immigrant narrative tropes through formal innovation. \" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“Laroui uses a wry, dry, knowing style to address identity and otherness, showing how focus on such issues defines the immigrant experience… Terrific stuff, insightful and often blackly funny.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eBarbara Hoffert, \u003cem\u003eLibrary Journal\u003c\/em\u003e (Starred Review)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Laroui casts his eye on this dour political legacy with the scalpel-like precision of a social satirist...The argumentative friends who meet at the Café de l'Univers give the café a zany energy. Imagine the Algonquin Roundtable populated only by the Marx Brothers.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKarl Wolff, \u003cem\u003eNew York Journal of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Laroui writes in dialogue, both interior and exterior, which gives the collection the feel of oral storytelling... We become eavesdroppers, lingering at the edges of the audience in order to hear what is being said. Most of these stories play to the ridiculous. Some are even slapstick in their humor. . . . But beneath the hijinks Laroui manages to place a kernel of pathos—in this instance a reminder of the politics of globalization and its inherent imbalance of power.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTara Cheesman-Olmsted, \u003cem\u003eThe Rumpus\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“A stylistically versatile collection of connected short stories, Fouad Laroui’s first work in English translation immerses the reader in the experience of a foreigner displaced. Humorous and thoughtful, with playful dialogue, \u003c\/span\u003e\u003cem\u003eThe Curious Case of Dassoukine’s Trousers’\u003c\/em\u003e\u003cspan\u003es characters accept both our laughter and sympathy.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Fouad Laroui is one of Morocco’s brightest talents, and this hilarious and profound collection of short stories is one of the best ways to discover his strange, insightful wit.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eStaff Pick at Albertine Books by Adam Hocker\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“A hilarious short story collection by Moroccan writer Fouad Laroui… Much of the book is conversations, a wry absurdist take on bureaucracy, life in Morocco, life in Belgium, storytelling itself.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJace Clayton (DJ Rupture), \u003cem\u003eDwarf + Giant\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Fouad Laroui is witty and stylistically experimental. He shrewdly observes how politics, religion, racism (and anti-racism), economics, and sundry philosophical ‘theories’ interact with the quotidian.” — \u003c\/span\u003e\u003cstrong\u003eJohn Taylor,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Arts Fuse\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Since his debut in 1996, Fouad Laroui — endorsing the motto of Beaumarchais , 'I hasten to laugh at everything, for fear of being obliged to weep.' — has chosen the weapon of humor. A weapon that he uses brilliantly to hide his wounds rather than to 'serve his anger' against stupidity, contempt, malice, intolerance, and fanaticism of all kinds.\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eLe Monde\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A striking metaphor for our times.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eLe Figaro\u003c\/em\u003e (France)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"[A] collection that is as funny as it is poignant and memorable… All of Laroui’s gifts are on full display: the interweaving of narrative and commentary; the sharp humor; the gracious, full heart.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLaura Farmer, \u003cem\u003eThe Cedar Rapids Gazette\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A writer who is aware of all the oddities of how the world around him works and holds these oddities up to the light, with a biting but gentle intelligence, a warm sense of humor, and a smart linguistic inventiveness.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eShigekuni\u003c\/em\u003e Blog\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Fouad Laroui has a gift for simultaneously expanding his readers’ minds, spinning a yarn, and making us roll our eyes and laugh. Fellow Moroccan writer Laila Lalami has been calling for translations of his work into English for at least a decade.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eM. Lynx Qualey, \u003cem\u003eBookwitty\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The foreign angle is what made me pick up this short story collection \u003c\/span\u003ebut I was happy to find that there is much, much more in Laroui’s writing. First of all, it’s funny. Laugh out loud on the bus funny.\u003cspan\u003e My favorite stories have a narrator spinning tales at a cafe, with a peanut gallery at the ready to put in their own two cents.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKazen, \u003cem\u003eAlways Doing\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"This is a unique collection of stories that I can recommend to anyone who wants to experience a wide range of literary styles in a single collection of stories.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMelissa Beck, \u003cem\u003eThe Bookbinder's Daughter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Stories… notable for their wisdom and compassion.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eWillard Manus, \u003cem\u003eLively-Arts: An Internet Cultural Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e— Belgium really is the birthplace of Surrealism, sighs Dassoukine, staring into the distance.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eI don’t respond because this phrase seems like a prologue—and in the face of a prologue, what can you do but await what follows, resigned. My commensal examines his mug of beer suspiciously, even though we are, after all, in the country that saw the birth of this pretty blonde, sometimes brunette, child—in an abbey, I’m told. The server eyes us. In this superb spot situated on the Grand-Place of Brussels, opposite the Maison du Cyne, we form a trio hanging on this thesis: “Belgium really is the birthplace of Surrealism.” This incipit is still floating in the air when Dassoukine decides to elaborate.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e— What just happened to me, in any case, exceeds all bounds.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eI restrain myself from adding: “And when boundaries are crossed…”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHe begins:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e— So, I set out yesterday from Morocco on a very delicate mission. You know the grain harvest is off to a bad start in our country: it has rained, but not a lot. We are in desperate need of flour, but where to find it? Ukraine is in flames, the Russians cling tightly to their crops, Australia is far. There’s only one solution: Europe. The government sends me to buy flour from Brussels. They’ve entrusted this mission to me. The country’s future is at risk. At the airport, in Rabat, they’re all on the tarmac, the ministers standing straight as yews, to bid me bon voyage as if their fate depended on little old me. Well, little…I’m taller than all of them by a head. The prime minister shakes my hand while the airplane engines roar and my eyes blur:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e— Get the best price, my boy, the best price! The budget of the state depends on your negotiating skills.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHe nearly pulled my ear, as if to say, “the homeland is counting on you, grenadier.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eFouad Laroui\u003c\/strong\u003e was born in 1958 in Oujda, Morocco. After his studies in the Lycée Lyautey (Casablanca), he joined the prestigious École Nationale des Ponts et Chaussées (Paris, France), where he studied engineering. After having worked in the Office Cherifien des Phosphates company in Khouribga (Morocco), he moved to the United Kingdom where he spent several years in Cambridge and York. Later he obtained a PhD in economics and moved to Amsterdam where he is currently teaching econometrics and environmental science. In addition, he is devoted to writing. He is a literary chronicler for the weekly magazine \u003cem\u003eJeune Afrique\u003c\/em\u003e and \u003cem\u003eEconomia Magazine\u003c\/em\u003e, and the French-Moroccan radio \u003cem\u003eMédi1\u003c\/em\u003e. He has published over twenty novels and collections of short stories, poetry, and essays who lives between Amsterdam, Paris, and Casablanca. His novels have been shortlisted numerous times for the Prix Goncourt, France's most prestigious literary prize, and his latest novel was awarded the Grand Prix Jean Giorno. \u003cem\u003eThe Curious Case of Doussakine's Trousers\u003c\/em\u003e won Laroui his first Prix Goncourt for short stories.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eEmma Ramadan\u003c\/strong\u003e is a graduate of Brown University, received her Master's in Cultural Translation from the American University of Paris, and recently completed a Fulbright Fellowship for literary translation in Morocco. Her translation of \u003cstrong\u003eAnne Garréta's\u003c\/strong\u003e  \u003cem\u003eSphinx\u003c\/em\u003e was published by Deep Vellum in spring 2015, and her translation of \u003cstrong\u003eAnne Parian's\u003c\/strong\u003e \u003cem\u003eMonospace\u003c\/em\u003e is forthcoming from La Presse in fall 2015.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509205598371,"sku":"9781941920268","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509205631139,"sku":"9781941920275","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/017-Curious_Case.jpg?v=1597087223"},{"product_id":"voroshilovgrad","title":"Voroshilovgrad","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003cstrong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/serhiy-zhadan\/\"\u003eSerhiy Zhadan\u003cbr\u003e\u003c\/a\u003eTranslated from the Ukrainian by Isaac Wheeler and Reilly Costigan-Humes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cem\u003eEasy Rider\u003c\/em\u003e meets \u003cem\u003ePedro Páramo\u003c\/em\u003e in this darkly funny, fast-paced road novel that barrels through eastern Ukraine's ravaged industrial landscape.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMay 24, 2016\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920305\u003cbr\u003e\u003cstrong\u003eeBook: \u003c\/strong\u003e9781941920312\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Trainspotting set against a grim post-Soviet backdrop.\" —\u003cem\u003eNewsweek\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA city-dwelling executive heads home to take over his brother's gas station after his mysterious disappearance, but all he finds at home are mysteries and ghosts. The bleak industrial landscape of now-war-torn eastern Ukraine sets the stage for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e, the Soviet era name of the Ukranian city of Luhansk, mixing magical realism and exhilarating road novel in poetic, powerful, and expressive prose.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cstrong\u003eSerhiy Zhadan\u003c\/strong\u003e is one of the key voices in contemporary Ukrainian literature: his poetry and novels have enjoyed popularity both at home and abroad. He has twice won BBC Ukraine’s Book of the Year (2006 and 2010) and has twice been nominated as \u003cem\u003eRussian GQ\u003c\/em\u003e’s “Man of the Year” in their writers category. Writing is just one of his many interests, which also include singing in a band, translating poetry and organizing literary festivals. Zhadan was born in Starobilsk, Luhansk Oblast. He graduated from Kharkiv University in 1996, then spent three years as a graduate student of philology. He taught Ukrainian and world literature from 2000 to 2004, and thereafter retired from teaching. Zhadan has translated poetry from German, English, Belarusian, and Russian from poets such as Paul Celan and Charles Bukowski. His own works have been translated into German, English, Polish, Serbian, Croatian, Lithuanian, Belarusian, Russian, Hungarian, Armenian, Swedish and Czech. In 2013, he participated in Euromaidan demonstrations in Kharkiv, and in 2014, he was assaulted outside the administration building in Kharkiv, an incident discussed in \u003cem\u003eThe New Yorker\u003c\/em\u003e. He lives and works in Kharkiv.\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eReilly Costigan-Humes\u003c\/strong\u003e is a graduate of Haverford College, where he studied Russian literature and culture. He lives and works in Moscow and translates literature from the Ukrainian and Russian.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eIsaac Wheeler\u003c\/strong\u003e received an MA in Russian Translation from Columbia University and is also a graduate of Haverford College, where he studied Russian Language and English Literature. Wheeler lives in Brooklyn, NY, where he is a professional business and literary translator.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eWinner of the 2014 Jan Michalski Prize for Literature\u003cbr\u003eWinner of the \u003cem\u003eBBC Ukraine\u003c\/em\u003e's Book of the Decade Award in December 2014\u003cbr\u003eOne of\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e World Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e's Recommended Summer Reads 2016\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003e“\u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e is an unsentimental novel about human relationships in conditions of brutality in which there is not a single act of betrayal… In his prose there is no nostalgia, but there is genuine affection, rough and profound. Even in this brutish habitus, there is trust, loyalty, and love.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMarci Shore, \u003cem\u003eThe New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e is more, however, than an exercise in post-Soviet social realism. There is something deeply mythological about the novel, and, like many myths, it is a story of homecoming. . . . Zhadan’s language is suitably elastic, swinging from the tough, streetwise irony of a Ukrainian Irvine Welsh to flights of ebullient poetry more reminiscent of Bruno Schulz.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eUilleam Blacker, \u003cem\u003eTimes Literary Supplement\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A homecoming is by turns magical and brutal in Zhadan's impressive picaresque novel. . . . For Zhadan, loyalty and fraternity are the life-giving forces in this exhausted, fertile, near-anarchic corner of the country . . . readers will be touched by his devotion to a land of haunted beauty, 'high sky,' and 'black earth.'\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"With \u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e, Zhadan has created an authentic poetics of post–Soviet rural devastation. His ragged, sympathetic characters aren’t the newly rich post–Soviets of Moscow, the urban oligarchs Peter Pomerantsev has described, who “sing hymns to Russian religious conservatism — and keep their money and families in London.” They are individuals struggling to come to terms with their place in history and with the history of their place.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAmelia Glaser, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A trippy novel of contemporary Ukraine . . . set far away from the bustle of the metropolis and the Maidan, yet no less representative of the unsettled state of a country unable to transition. A bit meandering—but generally in a good way—\u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e is an entertaining sort-of-road-novel with quite a bit of depth to it.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMichael Orthofer, \u003cem\u003eComplete Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Zhadan’s canvas is large and is filled with bold characters... [he] also tosses into the mix fantastic and surreal flights of prose; poetic descriptions of the still-beautiful parts of the Ukraine, with its rich, black, enduring earth.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eWillard Manus, \u003cem\u003eLively Arts\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Ukraine’s best-known poet and the country’s most famous counter-culture writer.\" \u003cstrong\u003e—S\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eally McGrane, \u003cem\u003eThe New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Blurring the boundaries between time and space as well as place, \u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e narrates the journey of Herman, an advertising executive, who returns to his remote home after years of city living to find his missing brother.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Zhadan is a writer who is a rock star, like Byron in the early nineteenth century was a rock star.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDr. Vitaly Chernetsky, professor of Slavic Literature at the University of Kansas, \u003cem\u003eThe New Yorker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e crosses, with tremendous grace, back and forth between lyrical dreaminess and brutal nightmarishness, and Zhadan works in lots of absurdity… \u003c\/span\u003e\u003cspan\u003eparadoxically both real and bizarre.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLisa Espenschade, \u003cem\u003eLizok's Bookshelf\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A fascinating exploration into a post-soviet Ukraine. Not only does it explore the effects of communism to an industrial city, but also the power vacuum left behind when the Soviet Union collapsed.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMichael Kitto, \u003cem\u003eKnowledge Lost\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“A dark but funny tale of an urbanite who returns to his hometown to run his brother's gas station. It's a road novel with splashes of magical realism and an embrace of fraternal loyalty. In hindsight, the bleak, disheartening environs and attitudes make it hard not to notice parallels to Trumpian middle America.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJay Trachtenberg, \u003cem\u003eThe Austin Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"An entertaining tale . . . Trouble keeps finding Herman, and it's hard not to root for him.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eRoman Augustovitz, \u003cem\u003eMinneapolis Star-Tribune\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"\u003cem\u003eVoroshilovgrad\u003c\/em\u003e is a road novel that escapes itself...[it] evokes the notion that the things we may consider nearest and dearest (romantic love, “brotherhood” and even more cynical values like materialism) are, rather than the be-all and end-all, just the tip of the iceberg emerging from the more alien depths of human motivation.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eElisabeth Cook, \u003cem\u003eLit All Over\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The book veers from poetic lyricism to brutal realism. And sometimes we get both at the same time, a feat I would have thought impossible, but Zhadan pulls it off.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eZoe Brooks, \u003cem\u003eMagic Realism\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A strange mixture of magical realism, road novel, and spiritual journey . . . By turns jaunty, hilarious, poignant, and depressing, \u003c\/span\u003e\u003cem\u003eVoroshilovgrad\u003c\/em\u003e\u003cspan\u003e tells an important story about the people left in the wake of Communism's collapse, and the ways in which they try to build a future.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eRachel Cordasco, \u003cem\u003eBookishly Witty\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Zhadan’s language is wild and powerful. The rhythm structuring his endless sentences demonstrates his beginnings as a poet.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJutta Lindekugel, \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A generation's manifesto.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLiza Novikova, \u003cem\u003eIzvestiya\u003c\/em\u003e (Russia)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Zhadan's prose is so poetic, his free verse so prosaic. It is difficult to assign a genre to his work: memoir, travelogue, timely or untimely meditation — or a mixture of all these, centered on the themes ‘my generation’ and 'our epoch'.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe New Literary Review\u003c\/em\u003e (Russia)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"One of the most important creative forces in modern Ukrainian alternative culture. He writes desolately, brashly, deliriously, associatively, cleverly and with laugh-out-loud humor and great empathy for his characters...\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eKulturSpiegel (Germany)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"There is no summarizing the spicy, hot, sweet, vicious improvisations of Serhiy Zhadan—this is verbal jazz.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKirill Ankudinov, \u003cem\u003eVzglyad.ru\u003c\/em\u003e\u003cem\u003e (Russia)\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eTelephones exist for breaking all kinds of bad news. Voices on the phone sound cold and detached. I guess it’s easier to pass along bad news in an official-sounding voice. I know what I’m talking about. I’ve been fighting telephone receivers my whole life, albeit unsuccessfully. Operators all over the world continue to keep track of people’s conversations, jotting down the most important words and phrases. Meanwhile, psalm books and phone directories lay open on hotel nightstands; that’s all you need to keep the faith.\u003c\/p\u003e\n\u003cp\u003eI slept in my clothes – jeans and a stretched-out T-shirt. Upon waking, I roamed the room, knocking over empty soda bottles, glasses, cans and ashtrays, plates with sauce slopped all over them, and shoes. Barefoot and bad-tempered, I stepped on apples, pistachios and dates like oily cockroaches. When you’re renting you are surrounded by other people’s furniture, so you get accustomed to being careful with other people’s things. Like a thrift shop owner, I kept all kinds of junk at my place. I had gramophone records and hockey sticks hiding under my couch, along with some clothes a girl had left there and some large road signs I had somehow gotten my hands on. I couldn’t throw anything away since I didn’t know what belonged to me and what was someone else’s property. But from the very first day, the very first moment that I found myself here, there was a telephone receiver lying right there, on the floor, in the middle of the room. Its voice and its silence filled me with hatred. Before bed I’d cover it up with a large cardboard box and in the morning I’d take that box out to the balcony. The demonic apparatus lay in the center of the room; its jarring, irritating ring heralding that someone needed me after all.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509573419171,"sku":"9781941920305","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509573451939,"sku":"9781941920312","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/014-Voroshilovgrad.jpg?v=1597090188"},{"product_id":"one-hundred-twenty-one-days","title":"One Hundred Twenty-One Days","description":"\u003cp\u003e\u003cb\u003eBy\u003c\/b\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/michele-audin\/\"\u003e \u003cb\u003eMichèle Audin\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTranslated from the French by Christiana Hills\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOne of \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e's \"Best Books of 2016\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWinner of a French Voices Award\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDebut novel by mathematician Oulipo member layers coded narratives across World Wars unlocking the entangled history of politics and science.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePublication Date: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eMay 17, 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePaperback: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e9781941920329\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eeBook:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003cmeta charset=\"utf-8\"\u003e 9781941920336\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"...rich, tragic, yet playful novel...\" — Nancy Kline, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew York Times Book Review\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Formally dazzling, playful and affecting, a new Oulipian classic.\" — Lauren Elkin, author of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFlâneuse\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe End of Oulipo?\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis debut novel by mathematician and Oulipo member Michèle Audin retraces the lives of French mathematicians over several generations through World Wars I and II. The narrative oscillates stylistically from chapter to chapter—at times a novel, fable, historical research, or a diary—locking and unlocking codes, culminating in a captivating, original reading experience.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eLonglisted for the 2017 PEN Translation Prize\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOne of \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e's Best Books of 2016\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOne of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e' Picks for \"Favorite International Reads of 2016\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIncluded in \u003c\/b\u003e\u003cb\u003e\u003ci\u003eRain Tax\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003ei’s Fall 2016 print edition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In her use of multiple forms—diaries, letters, newspaper articles, interviews—within Oulipian constraints, Audin delivers elegant proof of the unsolvable.” \u003c\/span\u003e\u003cb\u003e—Susan Harris, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Polymorphous and fluid, the book considers how our lives find their shape, and which details are amenable to history’s telling.\" \u003c\/span\u003e\u003cb\u003e—Veronica Esposito, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTimes Literary Supplement\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Audin smartly introduces new figures and new turns to constantly shift the reader’s investment—as we move into the war we’re confronted with the horrors of the concentration camps, but also with those who endured and survived, and we feel the rampant terror among occupied cities but also the courage of those who resisted.\" \u003c\/span\u003e\u003cb\u003e—Jonathan Russell Clark, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Kenyon Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"This is an unconventional novel that has many layers and makes you think about love, history, war, racism, rebellion, caring, and many other things but most of all about telling a story. Highly recommended.\" \u003c\/span\u003e\u003cb\u003e—European Mathematical Society\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"This weird little puzzle of a novel is about mathematicians in wartime, and it's only the second book published in English by a female member of the Oulipo. Audin, a French mathematician, scavenges different forms and styles (a fairy tale, a diary, newspaper clippings) to create a sort of literary mixtape. Perhaps the best comparison is Valeria Luiselli's The Story of My Teeth—like that novel, it gives you the rare, head-scratching feeling of not being able to say what exactly makes it so good. \" \u003c\/span\u003e\u003cb\u003e—Gabe Habash, \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e (Best Summer Books 2016)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"A story about mathematics and love . . . Throughout the novel, there is a clash, sometimes explicit, sometimes implicit, between the icy objectivity of mathematical theory and the messy chaos of everyday life. . . . The \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e120 Days of Sodom\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the notorious unfinished novel by The Marquis de Sade, ends in a simple math problem. It reduced all the atrocities, carnage, and outrage into a formal exercise a student would do for homework. Audin performs the same operation, constantly reducing and distilling narrative until nothing remains but pure numbers. Although, since 20th century history and personal love is involved, the numbers are anything but pure.\" \u003c\/span\u003e\u003cb\u003e—Karl Wolff, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eNew York Journal of Books\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Audin wants us to think about how our stories get told and how our history gets constructed. She never lets us forget that her novel is first and foremost an artifact; she has put its pieces together artfully, but its unique form ensures the artifice is on display. Audin’s Oulipian constraints implicitly argue that wartime narratives — and ultimately all narratives — are necessarily partial.\" \u003c\/span\u003e\u003cb\u003e—Rebecca Hussey, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eFull Stop\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"This is a novel for those who like a little experimentation in their fiction...Audin uses a different form for every chapter, including letters, fables, psychological reports, diaries, interviews, newspaper clippings, and more. The effect is stunning. If you’ve read and liked other novels set in wartime, you’ll want to pick this up for an entirely different experience of what the fiction of war can be.\" \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eBook Riot\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e (Recommended Book)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Numbers are the markers of human life: dates, ages, addresses, social security numbers, bank accounts, even concentration camp tattoos and prison badges. With numbers we seek to sketch the outlines of—or worse define absolutely—an identity... What is a life of a hundred years, marred and disfigured too young, a life of anger and bitterness compared to the brief four months of a young, passionate love affair? How does one truly measure the value of a life lived? Audin doesn’t presume to answer, but her mesmerizing first novel poses the question with artful grace.\" \u003c\/span\u003e\u003cb\u003e—Chris Phipps, Diesel: A Bookstore (Oakland, CA) (Staff Pick)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\" . . . Audin's smart, deeply empathetic text is enriched by recurrences, coincidences, and invocations of European poetry, including Dante's Inferno and Faust, since numbers alone cannot make sense of the war's aftermath: the lives senselessly ended, spared, or quietly destroyed\" \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e (Starred Review)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Audin focuses on a handful of top-flight French mathematicians caught up in the two wars, and this type of character, quite rare in novels, somewhat distinguishes her tale from other similar accounts of the tragic fates awaiting brilliant minds. . . . Given the fate of the European Jews in general and, in this novel, that of André Silberberg and other Jewish mathematicians in particular, a strong point is being made: what matters is not emotional connection, but rather gathering scattered bits of fact, piecing some of the puzzle back together, and restoring the identities and thus the full-blooded faces of those whom the Nazis sought to efface. \" \u003c\/span\u003e\u003cb\u003e—John Taylor, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eArts Fuse\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"While not shying from the admission that bald figures can bring us to our knees with despair—just think of the incomprehensibly large numbers of dead in any reporting on genocide—the novel suggests that words turn innocent numbers violent. And it’s the mathematician, finding symmetry in the seemingly senseless, who uncovers the transcendent human stories buried under generations of historical devastation . . . an elegy, an invocation of memory, made all the more bittersweet when told in numbers.\" \u003c\/span\u003e\u003cb\u003e—Amanda Sarasien, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eReading in Translation\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Audin’s prose transfixes immediately—bleak, brief sentences that bring to mind other French-language literary luminaries like Duras, Bataille, and Beckett. Audin finds humor in the abrasive and absurd...\" \u003c\/span\u003e\u003cb\u003e—Timothy O'Donnell, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eAmerican Microreviews \u0026amp; Interviews\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e blog\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI start to write:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOnce upon a time, in a remote region of a faraway land, there lived a little boy. And this little boy was filled with an insatiable curiosity and was always asking lots of questions. The faraway land where he lived was in Africa, in the area surrounding a big river called the river Saloum, and the little boy filled the area around this river with his questions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHe asked his father why the Blacks on the plantation were hit with rods and his father beat him with his leather belt; he asked his mother why she didn’t read her Bible by herself and his mother beat him with her two white hands; he asked the village priest why he drank the communion wine during catechism and the priest beat him with his stick; he asked the schoolteacher why the same number, p, was used to measure every circle, big ones and little ones, and the schoolteacher didn’t beat him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI must tell you, dear one, that some good fairies were watching over this little boy’s cradle. If there were a few evil fairies as well, no one noticed. So there will be no discussion of evil fairies at this point in the tale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA fairytale is a way of telling a history. The river Saloum, its village, its plantation, its pirogues, and its Flamboyant trees form the setting for this one. The little boy’s parents, his little brother, the fairies, the priest, the schoolteacher, a dog, and a few of the villagers are the characters. The little boy, who lived in this exotic setting at the center of this little world, was named Christian. The good fairies, along with the schoolteacher who didn’t beat anyone who asked him questions, were responsible for the fact that he really loved going to school, where he learned to read books, to write fast and well, to count fast and high, and to ask questions. As for his parents, they thought the time he spent at school was much too long. Because, you see, though his mother liked that he could read the Gospels aloud to her, his parents wondered why it was necessary for him to learn any more. One day when his father was beating him with his leather belt, he said: “Well, you’re not going to become a writer!” \u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eMichèle Audin\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a mathematician and a professor at l’Institut de recherche mathématique avancée (IRMA) in Strasbourg, where she does research notably in the area of symplectic geometry. Audin is a member of the Oulipo, and is the author of many works of mathematics and the history of mathematics, and has also published a work of creative nonfiction on the disappearance of her father, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUne vie brève\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Gallimard, 2013), contributed to a collection of short stories, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eGeorges Perec and the Oulipo: Winter Journeys\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Atlas Press, 2013), and edited and annotated an abecedary of Oulipo works, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOULIPO L’Abécédaire provisoirement définitif\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Larousse, 2014). \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eOne Hundred Twenty-One Days\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is her first novel and was published to universal acclaim in 2014 by the prestigious Gallimard publishing house in France. \u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChristiana Hills \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eis a literary translator who graduated from NYU's MA program in Literary Translation, and is currently a doctoral candidate in Translation Studies at Binghamton University in New York.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508880638115,"sku":"9781941920329","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508880670883,"sku":"9781941920336","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/015-121_Days.jpg?v=1597065244"},{"product_id":"before","title":"Before","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBy \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCarmen Boullosa\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTranslated from the Spanish by Peter Bush\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eA profound and moving coming-of-age novel that explores the end of one woman's innocence in childhood.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePublication Date:\u003c\/strong\u003e August 2, 2016\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePaperback:\u003c\/strong\u003e 9781941920282\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eebook:\u003c\/strong\u003e 9781941920213\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eDescription\u003c\/h5\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBefore\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is the story of a woman who returns to the landscape of her childhood to regain her innocence, knowing that in order for her to discover her identity, she must overcome the fear that held her captive as a little girl. This unique exploration of the path to womanhood and innocence lost won Mexico’s most prestigious literary prize. Introduction by award-winning author Phillip Lopate.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCarmen Boullosa\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e is one of Mexico's leading novelists, poets, and playwrights. She has published over a dozen novels, two of which were designated the Best Novel Published in Mexico by the prestigious magazine \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReforma\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e—her second novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBefore\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, also won the renowned Xavier Villaurrutia Prize for Best Mexican Novel; and her novel \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLa otra mano de Lepanto\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e was also selected as one of the Top 100 Novels Published in Spanish in the past 25 years. Her most recent novel, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTexas: The Great Theft\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e won the 2014 Typographical Era Translation Award, was shortlisted for the 2015 PEN Translation Award, and has been nominated for the 2015 International Dublin Literary Award. Boullosa has received numerous prizes and honors, including a Guggenheim fellowship. Also a poet, playwright, essayist, and cultural critic, Boullosa is a Distinguished Lecturer at City College of New York, and her books have been translated into Italian, Dutch, German, French, Portuguese, Chinese, and Russian.\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eShelby Vincent\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e received her PhD in Literary Translation from the University of Texas at Dallas's School of Arts and Humanities in 2015. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003eReviews\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eBookriot\u003c\/i\u003e's “7 Small Press Books to Read\" (August 2016)\u003c\/b\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLiterary Hub\u003c\/i\u003e's “13 Translated Books by Women You Should Read”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“This 1989 novel from one of Mexico’s most prolific authors won the Xavier Villarutia Prize, the country’s most prestigious literary award. In its first English translation, Before offers a perfect introduction to Boullosa’s fluid and powerful writing… Beneath the events Boullosa presents in often comic terms – playing childhood games with her half-sisters, visits to her grandmother, the shock of coming into womanhood at the time of her mother’s death, her savage dreams – is a powerfully rendered sense of loss and separation.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Jane Ciabattari, \u003cem data-mce-fragment=\"1\"\u003eBBC Culture\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“However spectral, this fictive double of the author produces a vividly expressionist argument that the transformations of adolescence amount to the literal death of the child. She also serves up a finely observed account of how a person—specifically, a high-strung, privileged, and impatient Catholic girl like the author herself—becomes a writer.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Will Heinrich,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBOMB Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Told by an unnamed, extremely sensitive, and very frightened girl, this early novel by one of Mexico’s premier writers rivals Clarice Lispector’s work for sheer hypnotic power.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Staff Pick at Politics \u0026amp; Prose Bookstore in Washington, D.C.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Like Eimear McBride’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eA Girl is a Half-Formed Thing\u003c\/em\u003e, Carmen Boullosa’s peculiarly spooky novella uses formal experimentation and an uncompromising emotional honesty to explore the formation of a young woman’s identity. Only a writer as fearless as Boullosa could so perfectly capture the unease of youth with such Angela Carter-like weirdness.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Gary Perry, Foyle’s in London\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Carmen Boullosa’s early novel Before meets the everyday with bewilderment. In this dream world of childhood, realism is nothing short of an act of magic; the supernatural suffuses the ordinary. The official narratives—of childhood and womanhood, of heresy, sacrifice and salvation — structure not just how we understand and remember our experiences, but how we talk about and write our histories.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Anna Zalokostas, \u003cem data-mce-fragment=\"1\"\u003eMusic \u0026amp; Literature\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Boullosa’s novel is playfully subversive rather than derivative, and converses with her precursors while forging a decidedly feminine—and feminist—path for the treatment of growing up (or failing at it).”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—Charlotte Whittle, \u003cem data-mce-fragment=\"1\"\u003eElectric Literature\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“\u003ci data-mce-fragment=\"1\"\u003eBefore\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis a small gem that brings to mind two other gems of Mexican literature: Juan Rulfo’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003ePedro Páramo\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eand Carlos Fuentes’s\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eAura\u003c\/i\u003e. This comparison is not overstated. Like its predecessors, death is a central theme in Boullosa’s novella.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eBefore\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ediffers, however, in the playful, sometimes irreverent way in which the protagonist confronts this macabre topos.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—George Henson, \u003cem data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A ferociously intimate evisceration of her own formative personal history as well as an exploration of everything that is lost with childhood and of the places of silence that precede speaking.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Aaron Bady, \u003cem data-mce-fragment=\"1\"\u003eGuernica\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A luminous writer . . . Boullosa is a masterful spinner of the fantastic.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eMiami Herald\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“…this first novel is raw and unadorned, like a vein opened up on the page.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Aaron Bady, \u003cem data-mce-fragment=\"1\"\u003eLit Hub\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Mexico’s best woman writer.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Roberto Bolaño\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Carmen Boullosa writes with a heart-stopping command of language.”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—Alma Guillermoprieto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A story and men armed by necessity and by caprice, a tale of indomitable women, a chronicle of cowboys and Indians, of African-Americans and immigrants from other parts, of captives and their keepers, of slavers and rebels.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eLa Journada\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eon TEXAS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“I don’t think there’s a writer with more variety in themes and focuses in his or her writing. . . . The style and range of Carmen Boullosa is unique for its versatility and its enormous courage.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—Juan Villoro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\". . . a cross between W. G. Sebald and Gabriel García Márquez.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The world of Carmen Boullosa is revealed as a sui generis form weathering the storms of history.”\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003cem data-mce-fragment=\"1\"\u003eLetras Libres\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Carmen Boullosa is, in my opinion, a true master.”\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e—Alvaro Mutis, author of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Adventures and Misadventures of Maqroll\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Part ghost story, part coming-of-age tale, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBefore\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is utterly haunting, mesmerizing and heartbreaking. This novel is an eerie and unforgettable masterpiece, an original take on the Central and South American tradition of magical realist literature.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAnn Mayhew, \u003cem data-mce-fragment=\"1\"\u003eThe Riveter Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"What strikes the heart in \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eBefore\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is the profound earnestness in which the narrator explores the memories that transform her life…Boullosa captures these sensations with a poet’s heart and sensibility.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLaura Farmer, \u003cem data-mce-fragment=\"1\"\u003eThe Cedar Rapids Gazette\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Everything is in flux and in motion in Before, corresponding to the narrator's emotional and psychological state leading up to and including the twin traumas of losing her mother and achieving puberty.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRachel Cordasco, \u003cem data-mce-fragment=\"1\"\u003eBookishly Witty\u003c\/em\u003e blog\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Spooky...Breathless, haunting...\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSuzanne Fischer, \u003cem data-mce-fragment=\"1\"\u003eTiny Letter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The return to childhood that Carmen Boullosa has given us feels unlike any other book that I have read. I can’t say enough about Boullosa’s incandescent writing, which glows from within, radiating possibilities, contradictions, ambiguities.\" \u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTerry Pitts, \u003cem data-mce-fragment=\"1\"\u003eVERTIGO\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eTo read either [\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBefore\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e or Guadalupe Nettel's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Body Where I Was Born\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e] is to be freed, at least temporarily, from one’s automatic perceptions and to be returned again to the strange and raw world of childhood.\" \u003cstrong data-mce-fragment=\"1\"\u003e—Kat Solomon, \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ePloughshares\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\"There are moments of such excruciating authenticity that the reader is pinioned in that fraught borderland between pleasure and pain.\" \u003cstrong data-mce-fragment=\"1\"\u003e–\u003cem data-mce-fragment=\"1\"\u003eLeaf by Leaf\u003c\/em\u003e, Chris Via\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464779661475,"sku":"9781941920282","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464779694243,"sku":"9781941920213","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/018-Before.jpg?v=1596660572"},{"product_id":"vaseline-buddha","title":"Vaseline Buddha","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/jung-young-moon\/\"\u003e\u003cstrong\u003eJung Young Moon\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Korean by Yewon Jung\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA tour-de-force in automatic writing from South Korea's eccentric, award-winning contemporary master delves into subconscious worlds blending reality and imagination.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eJuly 5, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920343\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920350\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"If someone in the future asks in frustration, 'What has Korean literature been up to?' we can quietly hand them\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eVaseline Buddha\u003c\/em\u003e.\" —Pak Mingyu\u003c\/p\u003e\n\u003cp\u003eA tragicomic odyssey told through free association scrubs the depths of the human psyche to achieve a higher level of consciousness equal to Zen meditation. The story opens when our sleepless narrator thwarts a would-be thief outside his moonlit window, then delves into his subconscious imagination to explore a variety of geographical and mental locations—real, unreal, surreal—to explore the very nature of reality.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eJung Young Moon\u003c\/strong\u003e was born in Hamyang, South Gyeongsang Province, South Korea, in 1965. He graduated from Seoul National University with a degree in psychology. He made his literary début in 1996 with the novel \u003cem\u003eA Man Who Barely Exists\u003c\/em\u003e. Jung is also an accomplished translator who has translated more than forty books from English into Korean, including works by John Fowles, Raymond Carver, and Germaine Greer. In 1999 he won the 12th Dongseo Literary Award with his collection of short stories, \u003cem\u003eA Chain of Dark Tales\u003c\/em\u003e. In 2005 Jung was invited to participate in the University of Iowa's International Writing Program and in 2010 the University of California at Berkeley's Center for Korean Study invited him to participate in a three-month-long residency program. In 2012, he won the Han Moo-suk Literary Award, the Dong-in Literary Award, and the Daesan Literary Award for his novel \u003cem\u003eA Contrived World\u003c\/em\u003e, which is forthcoming from Dalkey Archive, who also published his short story collection \u003cem\u003eA Most Ambiguous Sunday and Other Stories\u003c\/em\u003e in 2014.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eJung Yewon\u003c\/strong\u003e was born in Seoul, and moved to the US at the age of 12. She received a BA in English from Brigham Young University and an MA from the Graduate School of Interpretation and Translation at Hankuk University of Foreign Studies.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eIncluded in \u003cem\u003eWords Without Borders\u003c\/em\u003e's July 2016 Watchlist\u003cbr\u003eIncluded in \u003cem\u003eBook Riot\u003c\/em\u003e's \"8 Small Press Books to Read in July 2016\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Reading \u003cem\u003eVaseline Buddha\u003c\/em\u003e feels like watching a magician who explains his trick as he performs it and yet still mesmerizes you with his sleight of hand. You simultaneously enter the dream and wake from it...This resistance underpinning the entire exercise makes Jung an heir to Polish novelist Witold Gombrowicz, who understood that writing is the documentation of a dance the writer does between form and chaos.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTyler Malone, \u003cem\u003eLos Angeles Time\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The novel raises questions about story, and how stories are created. It muses on where thoughts come from, how they act on us, and how to live a life that doesn’t take itself too seriously, while still earnestly engaging with the world. Jung’s work is as a hybrid of fiction, journal, and philosophical aphorisms. It begins in a place where meaning is of little concern, and ends by asking the reader to build up her own meaning while enjoying Jung’s fragments for the small, precious pleasures they provide.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJohn W. W. Zeiser, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"We wade into these... streams of consciousness and are swept away in a current of fluid thought, as sensation and ideation merge into a movement of molecules, a tide in perpetual flux.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTyler Malone, \u003cem\u003eLiterary Hub\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A remarkable work for its eccentric modes of thought and how it looks beyond the basic novel form and asks important secondary questions of where fiction is left to go.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJason DeYoung, \u003cem\u003eReview31\u003c\/em\u003e (a \"Best Novels of 2016\" selection)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"By continuing to reject the instinct for the order of things, the novel seeks to shed darkness on glimpses of the void. In those intense moments of deconstruction, the nothing that the language cannot express can be felt briefly in a moment of silent understanding amid cascade of words.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJack Saebyok Jung, \u003cem\u003eQuarterly Conversation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The book echoes the hectic nature of life itself, how chaotic and challenging it can be at times… certainly not a conventional novel, but it is one that challenges and enriches any reader who takes the time to follow Jung Young Moon as he contemplates the world around him.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLouisa Lee, \u003cem\u003eInspire Me Korea\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Jung Young Moon’s work is remarkable for its eccentric modes of thought and how it tests the limits of the novel and our notions of what fiction can do. It looks beyond the basic form and asks important secondary questions of where fiction is left to go. It also reveals crisply the cryptic nature of everyday life, which if examined with deep seriousness, will inevitably lead to deep absurdity—and that makes its futility somewhat pleasing.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJason De Young, \u003cem\u003eNumero Cinq Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The book plays directly to the central questions of the act of writing: Should writing be driven by order or chaos? Should it structure the universe or reflect its seeming randomness? Is the imposition of form a virtue of a vice? On that front, it feels akin to writers like Gombrowicz and Beckett.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTyler Malone, contributing editor for \u003cem\u003eLit Hub\u003c\/em\u003e and founding editor of \u003cem\u003eThe Scofield\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Surreal landscapes, automatic writing, and Kafka comparisons? Our interest is piqued by this book, yes indeed.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eVol. 1 Brooklyn\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"A strange and wonderful novel. First and foremost, it is a page-turner, but in a way entirely different from what the phrase 'page-turner' usually evokes...page after page, you’ll find yourself smiling, if not laughing out loud, at the comic absurdity that occupies the narrator’s mind and writing.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKalau Almony, \u003cem\u003eReading in Translation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The circularity of his writing, and his repeated efforts to create a story, are, we begin to realise, themselves a form of therapy—an attempt to work through unexpressed suffering.?\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTony Malone, \u003cem\u003eAsymptote\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Jung… offers an audacious discourse on creativity, presenting readers with a labyrinth of ideas, images, suggestions, and observations all waiting and available to individual interpretation.”\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eLibrary Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"I have no...idea what this book is going to be like but I know it has piqued my curiosity. Jung Young Moon has been compared to Kafka and Beckett and I’m into that. Jason DeYoung described the book as “meditative, challenging, narratively haywire and comic”, and I’m into that, too. Modern Korean literature? Sure, into that, too. And I kind of want to know what a Vaseline Buddha is, so I’m gonna pick it up ASAP.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eSusie Rodarme, \u003cem\u003eBook Riot\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"One of South Korea's more eccentric contemporary writers, Jung could almost be described as a cross between Beckett and Brautigan – his earlier writing was often extremely dark, but recently the balance has tipped towards lightness, of touch as much as of mood. It's all part of an aesthetic which prizes vagueness, randomness, digression rather than progression.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDeborah Smith, Verso Books\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"If you want something vastly different to anything else currently out there, I strongly recommend \u003c\/span\u003e\u003cem\u003eVaseline Buddha\u003c\/em\u003e\u003cspan\u003e . . . \u003c\/span\u003e\u003cem\u003eVaseline Buddha\u003c\/em\u003e\u003cspan\u003e may be a weird novel, but it leaves you thinking in ways you might not have considered before.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Sleepless Editor\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"One achieves a kind of serenity when we delve into this book. I find that eccentrics like Jung are needed in literature.\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAchim Stanislawski, \u003cem\u003eSWR 2\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Truly meaningful literature. What makes this novel so fascinating is its permanent liminality and ambiguity: it is exactly the completely obvious which remains ultimately cryptic; it is exactly the linguistic hyper-precision which leads to confusion; it is exactly the “boring” stuff which becomes thrilling at another level; and it is exactly the humorous, ironic attitude of the author-narrator which proves his deep seriousness.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJan Dirks\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“Reality and fantasy, memories and dreams, Asia and Europe, all are equal partners in this literary meditation” \u003cstrong\u003e—Christoph Hartner, \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eCrown Newspaper\u003c\/em\u003e (Germany)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-weight: 400;\"\u003e“At its heart, Vaseline Buddha is a game of ideas, used to obviate the difficulty of expressing the difficulty of life...Jung removes the trappings of the ordinary novel to create something new, molding out of the gray matter of the mind a recognizable form.” \u003cmeta charset=\"UTF-8\"\u003e \u003cstrong\u003e—L.S Popovich\u003c\/strong\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eOne day, when the night was giving way to dawn and everything was still immersed in darkness, I sat on a windowsill in the house I lived in, unable to sleep, thinking vaguely that I would write a story. I didn’t know at all where or what the story, if it could be called a story, would head toward, and neither did I want to know in advance, and for the time being, there was nothing that told me where or what. So for the time being, I was right to think that it could turn into a story, but it was possible that it wouldn’t turn into a story at all.\u003c\/p\u003e\n\u003cp\u003eAnyhow, something happened a little before I began thinking such things, something so trivial that you could hardly say that anything had happened at all; I heard a very small sound coming from outside the kitchen window, and straining my ears for the sound for a moment, I thought it was the sound of raindrops, but it didn’t continue at regular intervals like the sound of raindrops. After a little while, I went to the bedroom windowsill and looked out the window through the curtains but it wasn’t raining, and with a certain thought in my mind, I went to the kitchen where the sound had come from, and hid myself behind a wall, and saw someone climbing up toward my bedroom window. It seemed that he was climbing up the gas pipes, and he looked like a moving shadow. It was an astonishing sight but I didn’t cry out because I felt as if I were dreaming. He was taking great care not to wake the person inside, whom he thought was sound asleep.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509563523235,"sku":"9781941920343","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509563556003,"sku":"9781941920350","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/016-Vaseline_Buddha.jpg?v=1597090138"},{"product_id":"what-are-the-blind-men-dreaming","title":"What are the Blind Men Dreaming?","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/noemi-jaffe\/\"\u003e\u003cstrong\u003eNoemi Jaffe\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Brazilian Portuguese by Julia Sanches and from the Serbian by Ellen Elias-Bursać\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThree generations of women reflect, in their own words, on the Holocaust and bearing witness in Jewish and Brazilian identity.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eOctober 25, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920367\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920374\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"This is much more than a survival story. It is the story of how the scars of a woman can be and are passed through generations. It is about being a woman, a mother, and a daughter.\" —Gabriela Almeida,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eContinente\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"An infinite work.\" —\u003cem\u003eO Estadão de São Paulo\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA groundbreaking use of storytelling to bear witness to the Holocaust features three generations of women's own voices—Lili's diary written upon liberation from Auschwitz; daughter Noemi Jaffe exploring the power of memory, survival, and bearing witness; and granddaughter Leda, Noemi's daughter, on the significance of the Holocaust and Jewish identity seventy years after the war.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eRecommended in CLMP's 2020 Reading List for Women in Translation Month\u003cbr\u003eIncluded in \u003cem\u003eWords Without Borders\u003c\/em\u003e's September 2016 Watchlist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e“It is said that ‘we must never forget,’ but, as the world becomes a more volatile place, it becomes easy to wonder if some of those lessons have begun to be forgotten. Compelling pieces of literature from the Jewish diaspora such as Jaffe's novel that make bystanders ask the questions and feel the inexplicable feeling of suffering and survival are more important now than ever.” \u003cstrong\u003e—Hannah Wise, \u003cem\u003eDallas Morning News\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“A thoughtful and moving addition to the canon of Holocaust literature.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJewish Book Council\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Jaffe adds to Brazil’s well-established tradition of Jewish writing, which includes the likes of Clarice Lispector and Moacyr Scliar . . . \u003c\/span\u003e\u003cem\u003eWhat Are the Blind Men Dreaming?\u003c\/em\u003e\u003cspan\u003e is an exquisite and original meditation\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eBruna Dantas Lobato, \u003cem\u003ePloughshares\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"An arresting account of the holocaust and expatriation.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Culture Trip\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“A book that fights against oblivion every step of the way—in Stern, writing her story for it to be read by the generations to come, and in Jaffe and Cartum, who meditate on what it means to remember, and to live in the wake of memory. The Holocaust is something that is totalizing in its horror. It resists being thought about or written about.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJosh Phillips, \u003cem\u003eMoment Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“This is much more than a survival story. It is the story of how the scars of a woman can be and are passed through generations. It is about being a woman, a mother and a daughter.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eGabriela Almeida, \u003cem\u003eContinente\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"This book of Noemi and her mother, however, is not just another painful story; it is the conclusion that there are no answers for what happened. But there is one certainty: 'You have to remember, we must forget.' This is the key to overcoming a past so infinitely bad. So Noemi turns the story into a mosaic of questions — and is thus an infinite work.\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eO Estadão de São Paulo\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003c\/h5\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509580267683,"sku":"9781941920367","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509580300451,"sku":"9781941920374","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/020-WATBMD.jpg?v=1597090248"},{"product_id":"la-superba","title":"La Superba","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/pfeijffer\/\"\u003e\u003cstrong\u003eIlja Leonard Pfeijffer\u003cbr\u003e\u003c\/strong\u003e\u003c\/a\u003e\u003cstrong\u003eTranslated from the Dutch by Michele Hutchison\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eA master of language, Pfeijffer's autobiographical novel about migration, illegal and legal, in Genoa tells the story of Europe today.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eApril 5, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback: \u003c\/strong\u003e9781941920220\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920237\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"If Italo Calvino decided to make one of his invisible cities visible, the result might look something like Pfeijffer's Genoa.\" —Benjamin Moser\u003c\/p\u003e\n\u003cp\u003eAn absolute joy to read,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLa Superba\u003c\/em\u003e, winner of the most prestigious Dutch literary prize, is a Rabelaisian, stylistic tour-de-force about a writer who becomes trapped in his walk on the wild side in mysterious and exotic Genoa, centering on the stories of migration and immigration, legal and illegal, telling the story of modern Europe. Part migrant story, part perverse travel guide,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLa Superba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a wholly postmodern ode to the imagination that lovingly describes the labyrinthine and magical city that Pfeijffer calls home: Genoa, Italy, the city known as La Superba for its beauty and rich history.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eIlja Leonard Pfeijffer\u003c\/strong\u003e\u003cspan\u003e (b. 1968), a classicist by training, made his literary debut with a poetry collection in 1999 that was an homage to the experimental poetry of his great models, Pindar and Lucebert. In the years that followed, in addition to poetry, he has written stage plays, essays, columns, travel accounts, stories, political satires, and four novels written in the spirit of Rabelais. In his other novels, including his debut, he has toyed with the idea of world literature and divided the critics between those proclaiming him a genius and those who think him an antiquated stylist. He’s a bit of both. \u003c\/span\u003e\u003cem\u003eLa Superba\u003c\/em\u003e\u003cspan\u003e, published in Dutch in 2013, is Pfeijffer's masterpiece of a novel and was greeted with unanimous praise upon publication, including winning the Libris Literatuurprijs, the Netherlands’ most prestigious literary award, and the Tzum Prize, awarded for “the most beautiful sentence of the year,” which he has now won twice. His most recent poetry collection, \u003c\/span\u003e\u003cem\u003eIdyllen\u003c\/em\u003e\u003cspan\u003e, published in 2015, became the first single work of poetry to ever win in the grand slam of the three major Dutch poetry awards: the VSB, Jan Campert, and Awater.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMichele Hutchison\u003c\/strong\u003e (1972) lives in Amsterdam and translates from Dutch and French. She has translated Ilja Leonard Pfeijffer, Joris Luyendijk, Simone van der Vlugt, Esther Gerritsen and Pierre Bayard, alongside a number of children's books, graphic novels and poems. She also works as an editor and blogger.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e“Pfeijffer’s prose shocks and disturbs, and the reader both rejects what he says and yearns to hear more. . . . While the plot itself wanders, three predominant themes emerge: sexual identity, storytelling, and immigration, each a catalyst for transformation. . . . The book asks readers to reconsider the fragility of their own lives and identities and how easily they can be tested by mere relocation. It’s a sympathetic approach to the hidden struggles that immigrants of all backgrounds in Europe face, and a call to be more open and receptive to those on the outskirts of society — after all, it could easily be you.” \u003cstrong\u003e—Alina Cohen, \u003cem\u003eLos Angeles Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“If Italo Calvino decided to make one of his invisible cities visible, the result might look something like Pfeijffer’s Genoa: rooted in the real world of Europe in the age of mass migration, but abstract and mythic enough that the legendary Genoese travelers — Columbus, the Ostrogoths — could still find their way through its labyrinthine streets.” \u003cstrong\u003e—Benjamin Moser, author of \u003ci\u003eWhy This World: A Biography of Clarice Lispector\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eLa Superba\u003c\/em\u003e offers an exotic form of chaos and tragedy, and an extremely truthful image of old Italian life in a postmodern city.” \u003cstrong\u003e—Anna Alden, \u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Anti-Europeans will see this extraordinary book as a knowing critique of a spoiled, corrupt, and quarrelsome lot of countries; pro-Europeans will admire its wit and its love of place and history. Inevitably, some will dislike its cruel mockery of intellectual and moral ambitions and its bizarre take on sex and growing old, all of which forms part of a whole, abundantly rich in provocative thought.” \u003cstrong\u003e—Anna Paterson, \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“The stories related throughout\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLa Superba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare attention-grabbing and entertaining, sometimes surreal, and at times downright grotesque. But while flirting with the obscene, the novel’s rawness also manages to strike a sympathetic chord.” \u003cstrong\u003e—Michele Hutchison, \u003cem\u003eAsymptote Journal\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Tragedy and comedy, life and death, sex and love–these are just a few of the themes explored by Pfeijffer in his wise, brave, gripping novel.” \u003cstrong\u003e—Willard Manus, \u003cem\u003eLively Arts\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Part travelogue and part migrant novel, this story about down-on-their-luck fortune-seekers and a quest to find ‘the most beautiful girl in Genoa’ is larger-than-life–but, as the author points out, exaggeration doesn’t mean that it’s untrue.” \u003cstrong\u003e—Susie Rodarme, \u003ci\u003eBook Riot \u003c\/i\u003e(\"7 Small Press Books to Read in April\")\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Deranged and hilarious…With a raucous style and barbed wit.” \u003cstrong\u003e—Peter Simek, \u003ci\u003eD Magazine\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“I love\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLa Superba\u003c\/i\u003e! No wonder the Dutch author and narrator have both relocated south to Genoa, the city called La Superba. This book tells the amazing, hilarious, sad and pathetic story of modern Europe. Immigration, great beauty, worse ugliness, history, culture, life all figure here. Thank you, Deep Vellum, for bringing this masterpiece to readers here in ‘La Merica.'” \u003cstrong\u003e—Lynn, Valley Bookseller (Stillwater, MN)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“An enjoyable—and sometimes very funny—ride. Pfeijffer’s style is easy-going, but the poet in him remains attentive to language throughout: for all the casual feel of the novel, it’s also a carefully, even precisely written one. Good fun.” \u003cstrong\u003e—Michael Orthofer, \u003ci\u003eThe Complete Review\u003c\/i\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Pfeijffer’s self-deprecating humor and moments of lyricism make La Superba a gem.” \u003cstrong\u003e—Rachel Cordasco, \u003c\/strong\u003e\u003ci\u003e\u003cstrong\u003eBookishly Witty\u003c\/strong\u003e\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e“It’s witty throughout, it’s well written and it’s an ode to the imagination.” \u003cstrong\u003e—\u003cem\u003eNRC Handelsblad\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“You read his salutary, pleasure-seeking prose to feast upon language. Bravissimo.” \u003cstrong\u003e—\u003cem\u003eVrij Nederland\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Wonderful.” \u003cstrong\u003e—\u003cem\u003eHet Financieele Dagblad\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“\u003cem\u003eLa Superba\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis finely tuned. The plot is a compelling mix of rich and thought provoking, uncomfortable and beautiful. Pfeijffer’s prose is layered and captivating, the perfectly graceful dance partner to the plot’s unpredictable Voltas. This unique novel is exceedingly relevant, confronting the many sides of the issues—migration, sexuality, space, identity, crime, prejudice, traditionalism—facing Europe today.” \u003cstrong\u003e—\u003cem\u003eEuropeNow Journal\u003c\/em\u003e Editor’s Pick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\"Thoroughly compelling and lyrical...The stories related throughout \u003cem\u003eLa Superba\u003c\/em\u003e are attention-grabbing and entertaining, sometimes surreal, and at times downright grotesque. \u003cspan\u003eBut while flirting with the obscene, the novel’s rawness also manages to strike a sympathetic chord.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLindsay Semel, \u003cem\u003eAsymptote\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"A pocket edition of Dante’s \u003c\/span\u003e\u003cem\u003eInferno\u003c\/em\u003e\u003cspan\u003e.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDutch Foundation for Literature\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"An important novel with universal appeal.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLibris Literature Prize jury report\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pfeijffer's enthusiasm about the wonders of the imagination is infectious and boundless.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cstrong\u003eDe Volkskrant\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"Pfeijffer’s prose is funny, nasty, sharp, and at once self-conscious and absolutely light on its feet.\" \u003cstrong\u003e– Jeremy Davies, \u003cem\u003eFarrar, Straus and Giroux\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThe most beautiful girl in Genoa works in the bar with the mirrors. She wears the same smart uniform as the other girls who work there. She also has a boyfriend who drops in on her from time to time at work. He uses hair gel and wears a sleeveless t-shirt with SOHO on it. He’s a moron. Sometimes I watch them in the mirrors, kissing secretly in the cubby hole where she prepares the small dishes that come with the aperitif.\u003c\/p\u003e\n\u003cp\u003eThis morning I saw someone on the Via della Maddelena who’d been robbed. ‘Al ladro!’ he shouted. ‘Al ladro!’ Then a boy came running around the corner. The man chased after him. He was wearing a white vest and he had a fat face and a fat belly. He looked like an honest man who’d learned to labour for a paltry wage from an early age. The boy ran uphill, to the Via Garibaldi, past the sundial and then carried on climbing, up the stairs of the Salita San Francesco. The fat man who’d been robbed didn’t stand a chance.\u003c\/p\u003e\n\u003cp\u003eLater I sat out drinking on the Piazza delle Erbe. It’s such a singular place, evening comes around there without me having to organize anything. The orange tables belong to the Bar Berto, the oldest pub on the square, famous for its aperitif. The white tables belong to the trattoria without a name where it’s impossible to eat without a reservation. The red and yellow tables are from various cafes and behind them there’s another terrace, a bit lower down. I could look up the names if you’re interested. I was sitting at a blue table, on the upper part of the square, looking out onto Bar Berto’s terrace. The blue tables belong to Threegaio, once founded by three homosexuals who, after brainstorming for nights on end, still couldn’t come up with a better name than that. I was drinking Vermentino from the Golfo di Tigullio. Leaning against the building on a bar stool was an impressive butch wearing dark black sunglasses. That reassured me, she was always sitting there. Street musicians. Rose-sellers. And then she spoke to me. ‘There’s something feminine about you.’ She ran her fingers through my hair like a man claiming something as his own. ‘What’s your name?’ Her voice was like a docker’s. ‘Don’t worry, I’ve got it. I’ll call you Giulia.’\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508763492515,"sku":"9781941920220","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508763558051,"sku":"9781941920237","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/013-La_Superba.jpg?v=1596837250"},{"product_id":"seeing-red","title":"Seeing Red","description":"\u003cp\u003e\u003cb\u003eBy\u003c\/b\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/lina-meruane\/\"\u003e \u003cb\u003eLina Meruane\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTranslated by Megan McDowell\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA visceral, moving, haunting English-language debut examines illness, the body, and human relationships by one of Chile's brightest young authors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Lina Meruane’s prose has great literary force: it emerges from the hammer blows of conscience, but also from the ungraspable and from pain.” —Roberto Bolaño\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePublication Date: \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eFebruary 23, 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePaperback:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 9781941920244\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eeBook:\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 9781941920251\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis powerful, profound autobiographical novel describes a young Chilean writer recently relocated to New York for doctoral work who suffers a stroke, leaving her blind and increasingly dependent on those closest to her. Fiction and autobiography intertwine in an intense, visceral, and caustic novel about the relation between the body, illness, science, and human relationships.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eLina Meruane\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is one of the most prominent female voices in Chilean contemporary narrative. A novelist, essayist, and cultural journalist, she is the author of a host of short stories that have appeared in various anthologies and magazines in Spanish, English, German and French. She has published a collection of short stories, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLas Infantas\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Chile 1998, Argentina 2010), as well as three novels, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePóstuma\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Chile 2000, Portugal 2001), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCercada\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Chile 2000) and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFruta Podrida\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Chile \u0026amp; México 2007). The latter won the Best Unpublished Novel Prize awarded by Chile’s National Council of the Culture and the Arts in 2006. She is the winner of the Anna Seghers Prize, awarded to her by the Akademie der Künste in Berlin, Germany, 2011. Meruane received the prestigious Mexican Sor Juana Inés de la Cruz Prize in 2012 with the publication of her most recent novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSangre en el ojo\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e). Holder of a Ph.D. in Latin American Literature from New York University, Meruane currently teaches World and Latin American Literature and Creative Writing at NYU.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMegan McDowell\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a literary translator of many modern and contemporary South American authors, including Alejandro Zambra, Arturo Fontaine, Carlos Busqued, Álvaro Bisama, and Juan Emar. Her translations have been published in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe New Yorker, McSweeney's, Words Without Borders, Mandorla,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVice\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, among others. She lives in Santiago, Chile, and New York.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eOne of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLiterary Hub\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e’s “13 Translated Books by Women You Should Read”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNominated for the Edinburgh Book Festival First Book Award 2017\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eOne of \u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly’s \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e“10 Essential 21st-Century Spanish-Language Books”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAn \u003c\/b\u003e\u003cb\u003e\u003ci\u003eEntropy Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e “Best of 2016: Fiction Books” selection\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIncluded in \u003c\/b\u003e\u003cb\u003e\u003ci\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e‘s “75 Notable Translations of 2016”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eA \u003c\/b\u003e\u003cb\u003e\u003ci\u003eForeword Reviews\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e Reviewers’ Choice Selection for “14 Favorites of 2016”\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAuthor Lina Meruane was interviewed by \u003c\/b\u003e\u003cb\u003e\u003ci\u003eLatin American Literature Today \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eon \u003c\/b\u003e\u003ca href=\"http:\/\/www.latinamericanliteraturetoday.org\/en\/2020\/august\/sickness-normality-interview-lina-meruane\"\u003e\u003cb\u003e\"Sickness as Normality\"\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Blurring the lines between fiction and memoir, Meruane’s first novel translated into English explores mortality, identity, and personal transformation. . . . This is a penetrating autobiographical novel, and for English-Language readers this work serves as a stunning introduction to a remarkable author.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003ePublishers Weekly\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Astonishing…Meruane’s authorial gaze is unflinching. . . . Lina resists all attempts to corral her into victimhood and insists on wielding her agency like a weapon…\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e becomes a searing commentary on the limits of family relationships and the cruelty that, under duress, we are capable of exerting on those we love.” \u003c\/span\u003e\u003cb\u003e—Charlotte Whittle,\u003c\/b\u003e\u003cb\u003e\u003ci\u003e Los Angeles Times\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“New York and her home town, Santiago, are described in prose that blends sensation with memory, fury with fear. The story reveals its truths through immediacy of description—viscous, repulsive, and beautiful.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe New Yorker\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Perfect memory notwithstanding, blindness has affected Lina’s relationships, especially the one with Ignacio, whom she alternately leans on, loves and envies for his undamaged eyes. These passages are the most uncomfortable to read because they show how truly vulnerable we are, how tightly bound is our sense of being physically whole to our sense of being being worthy and lovable.” \u003c\/span\u003e\u003cb\u003e—Beatriz Terrazas, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Dallas Morning News\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Intense, physical, flipping from sensual to gory, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a book about degeneration and offers an exhilarating “fresh eye”, as the author puts it, on what it is to be alive.” \u003c\/span\u003e\u003cb\u003e—Joanna Walsh, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe National\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In an autobiographical work full of discomfort, Meruane spares nothing negative, and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is astounding and essential for it.” \u003c\/span\u003e\u003cb\u003e—Greg Walklin, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eColorado Review\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Meruane’s ability to take readers into the experience of sight loss is extraordinary. Her descriptions are fresh, immediate and memorable, inviting comparisons with passages from Nobel Prize winner José Saramago’s great novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBlindness\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.” \u003c\/span\u003e\u003cb\u003e—Ann Morgan, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eA Year of Reading the World\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Aided by the fine translation from Megan McDowell, newcomers to Meruane’s spare prose and caustic wit… will admire the strange force and clarity of this novel that is as painstaking as it is wryly painful.” \u003c\/span\u003e\u003cb\u003e—Forrest Roth, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Collagist\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A novel of genius and disturbing intelligence...” \u003c\/span\u003e\u003cb\u003e—Enrique Vila-Matas, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eNorthwest Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“A raw, sexy, visceral and sometimes brutal account of a woman losing her sight and it explores the immediate effects on her relationships with her lover, family, surroundings and her own body with an unflinching gaze.” \u003c\/span\u003e\u003cb\u003e—Kirsty Mcluckie, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Scotsman\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“From this moment of darkness, the narrative hurtles forward, obsessed by Lina’s physical and emotional pains, which are examined with a vibrant, Kahloesque fascination. The narrative is also interested in how Lina’s pain stretches out, changing her relationships with the objects and people around her.” \u003c\/span\u003e\u003cb\u003e—M. Lynx Qualey, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eElectric Lit\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis the triumphant realization of a stunning artistic vision, a novel as black and bitter and bloody (and beautiful) as its central conceit. It’s a novel that’s hard to describe. But you know it’s great when you read it.” \u003c\/span\u003e\u003cb\u003e—Aaron Bady, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eThe Nation\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Susan Sontag famously wrote that there are only two nations: the one of the healthy and the one of the sick. Meruane’s corrosive writing is a meditation on a soul blinded not by illness, but by the peculiar destructive spirit produced by self-pity – that dark feeling familiar to any who has suffered their own body’s treason. In other words, all of us. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s spine is a deliciously perverse love story, loaded with surprising, sickening, wonderful erotic material centred in the eyeballs.” \u003c\/span\u003e\u003cb\u003e—Álvaro Enrigue, author of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eSudden Death\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e, for \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTANK Magazine\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e‘s 2016 Summer Reading List\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In this fierce work of autofiction...\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e excels in expressing the full scale of the horror and essential uncertainty of being betrayed by one’s own body.” \u003c\/span\u003e\u003cb\u003e—Amy Berkowitz, author of \u003c\/b\u003e\u003cb\u003e\u003ci\u003eTender Points\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Meruane writes further into, rather than through or around, blindness. Her language pulses with the psychological terror of the body’s betrayal; it pulls at the seams of the self, unleashing something deep within. This is not a fictionalized memoir of transformation and recovery, but a book that burns in your hands, something sharp and terrifying that bites back.” \u003c\/span\u003e\u003cb\u003e—Anna Zalokostas, \u003c\/b\u003e\u003cb\u003e\u003ci\u003eFull Stop\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“An overwhelming novel, formally brave (…) that balances with great talent the search of a personal language with narrative seduction” \u003c\/span\u003e\u003cb\u003e—Sor Juana Award jury\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“In Lina Meruane’s searing autobiographical novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeeing Red\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the narrator describes what she saw during an ocular hemorrhage that rendered her blind… As she navigates this new, uncertain existence with her boyfriend—moving together to a new apartment in New York City, visiting family back in Santiago, and undergoing endless, inconclusive medical exams and procedures—Lina perseveres by force of will and a keen intuition that makes her aware of things she was incapable of knowing before she lost her sight.” \u003c\/span\u003e\u003cb\u003e—\u003c\/b\u003e\u003cb\u003e\u003ci\u003eWords Without Borders\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e, Lori Feathers\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/h5\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509155299491,"sku":"9781941920244","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509155332259,"sku":"9781941920251","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/012-Seeing_Red.jpg?v=1597072975"},{"product_id":"the-pirate","title":"The Pirate","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003cstrong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/jon-gnarr\/\"\u003eJón Gnarr\u003cbr\u003e\u003c\/a\u003eTranslated from the Icelandic by Lytton Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe second book in a trilogy chronicling the troubled childhood of international sensation Jón Gnarr, \u003cem\u003eThe Pirate\u003c\/em\u003e revisits his teenage years with sincere compassion and great humor: bullied relentlessly, young Jón receives rebellious inner strength through the Sex Pistols and Prince Kropotkin—punk rock and anarchy offer the promise of a better and more exciting life.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e January 12, 2016\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920206\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920213\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"An Icelandic-punk version of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCatcher in the Rye\u003c\/em\u003e.\" —\u003cem\u003eDallas Morning News\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"If there were more people like Jón Gnarr the world wouldn't be in such a mess.\" —Oliver Sacks\u003c\/p\u003e\n\u003cp\u003eThe second book in a trilogy chronicling the troubled childhood of international sensation Jón Gnarr,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Pirate \u003c\/em\u003erevisits his teenage years with sincere compassion and great humor: bullied relentlessly, Jón receives rebellious inner strength through the Sex Pistols and Prince Kropotkin—punk rock and anarchy offer the promise of a better and more exciting life.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e, the most famous comedic actor in Iceland, founded the Best Party, ran for mayor of Reykjavík as a joke and won, and served as mayor of Reykjavík 2010-2014, in the process becoming an international sensation and symbol of true alternatives to the political process worldwide.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Anyone who felt like the outcast in school, in indefinable limbo between jock, bookworm, stoner, or class clown, yet still shunned and excluded and on your own planet, will identify with \u003c\/span\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e\u003cspan\u003e. In fact, it will make you relive those days in a way that brings all of those insecurities and triumphs vividly back to life.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDoug Stanhope\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The text encapsulates the feelings of loneliness and being misunderstood and bullied all while searching for self-identity that are all too common in the teenage experience. At times, the familiar emotions and questions posed by Gnarr’s younger self can be anxiety-inducing for the reader.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eHannah Wise, \u003cem\u003eDallas Morning News\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Jon Gnarr may be best known as the comedian who became mayor of Reykjavik, but he also impresses with his writing. \u003c\/span\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e\u003cspan\u003e recounts his teen years and punk rock's influence on his life.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDavid Gutkowski, \u003cem\u003eLargehearted Boy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Here we are a delivered a furious mind racing to process and understand in order to solve the riddle of his perpetual position as outsider. . . . Those who found punk as a refuge in their troubled teens and twenties will delight in thinking through our experiences while reading. . . . Give it a read and remember your first all-age hardcore matinee show.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eBrandon Gray Miller, Professor, SMU\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e“From Iceland comes former mayor of Reykjavik’s laugh-out-loud\/fight-back-tears memoir of a fractured adolescence,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e.….a must-read. Think Holden Caulfield Meets Borat.” \u003cstrong\u003e—Tim Barry, \u003cem\u003eThe Arts Fuse\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"In my opinion this is one of the most remarkable books to have come out in the last year...Teenagers should read this book, without question...I thought it was simply wonderful.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKolbrún Bergthórsdóttir, Kiljan (Icelandic National TV)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Gnarr the writer does an incredible job of telling the story from a kid's perspective, showing Jón's naivete and idealism, along with poor judgement, tortured kid-logic and blasé cynicism and emotional detachment. . . . \u003c\/span\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e\u003cspan\u003e is brilliant, heartbreaking and so true to a kid's brain it's painful sometimes, great for adult readers of adult or YA fiction.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMarie Cloutier, \u003cem\u003eBoston Bibliophile\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The language is reminiscent even of Thorbergur Thordarson, with his clarity and simplicity. I also find the history of punk in this book very interesting.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eSigurdur Valgeirsson, Icelandic National TV\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"He’s a bit of a genius, that Jón.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eEgill Helgason, Kiljan (Icelandic National TV)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A heartfelt and searing tale of bullying, rebellion and the search for a place to belong in the world. A story that genuinely touches the reader.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eFridrika Benonysdottir, \u003cem\u003eFrettabladid\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"...[The Pirate] plainly shows the destructive effects of prejudice and how a lack of realistic options and willingness to understand the boy is soul-destroying and dangerous...The strength of \u003c\/span\u003e\u003cem\u003eThe Pirate\u003c\/em\u003e\u003cspan\u003e, the second volume of Jon’s memoirs, is its sincerity: the boy’s point of view and the narration shaped by his inner voice.\" —\u003c\/span\u003e\u003cstrong\u003eFrida Bjork Ingvarsdottir, \u003cem\u003eVidsja\u003c\/em\u003e (National Broadcasting Station)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eOn \u003cem\u003eThe Indian\u003c\/em\u003e:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"A dark memoir full of black humor that details the author’s painful experiences as a child unable to fit in due to struggling with learning and emotional disorders, [The Indian] illuminates the struggles that come from being considered broken. Written with cleverly shifting points of view, this haunting narrative invites readers to consider the trauma of an outcast child.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"[The Pirate] is a highly readable book, enormously powerful and particularly heartfelt. …A book not soon forgotten.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eKolbrún Bergthórsdóttir, \u003cem\u003eMorgunblaðið\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"By turns funny and despairing (Gnarr had ADHD and severe dyslexia as a child), as well as providing a glimpse into Icelandic culture beyond Bjo¨rk, The Indian is entertaining and enlightening.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eCary Darling, \u003cem\u003eFort Worth Star-Telegram\u003c\/em\u003e (Critic’s Pick)\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Hypnotic and heartbreaking...Let 'normal' people have their 'normal' heroes. The rest of us have Jón Gnarr, and the world’s a better place for it.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMichael Schaub, \u003cem\u003eNPR\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Gnarr’s finest accomplishment in [The Indian], surpassing others in the genre, is the absolute immediacy of the childhood experience…Gnarr returns those emotions—all the emotions of childhood—to their context, adding the suffering of learning them, finding new restrictions, fearing ones you don’t know, and we relate to them once again.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eP.T. Smith, \u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eI was not on the way to heaven; that much I knew. Hell was my destination, calling on the Department of Psychiatry, unskilled labor, drugs, and Litla-Hraun, the prison. I had long been ready to take my first steps on the criminal path. That was the way to judgement.\u003c\/p\u003e\n\u003cp\u003eEveryone knew nothing would come out of me. I was a defective copy. My crime was to be different and to behave differently than required. Still, I wasn’t doing anything to anyone. I didn’t harm anyone, but I was still a threat. I was the punk song on the radio station that otherwise played elevator music for department stores. When people spoke, it was like they didn’t hear the words being said but instead they went on like a pleasantly babbling stream.\u003c\/p\u003e\n\u003cp\u003eWas my curse to hear every word? From the outside, from the other point of view, I was like a zombie, but inside I felt like the carnival in Rio de Janeiro was taking place. My brain was like a nuclear power plant producing endless ideas and words. The words were three-dimensional and under each word were sentences, new meanings, possibilities. The words swapped, merged, formed new sentences. The words played on the emotions like a harp.\u003c\/p\u003e\n\u003cp\u003eEach word had its own sentiment. Nothing was immutable, everything renewed and transformed continuously. But others didn’t see me with my eyes. They couldn’t. They just saw me with their eyes. They lived in prison, but I was outside. I was free, but they were closed off. It was impossible for me to step into prison and leave myself locked inside. And they could not understand that I didn’t want to step into prison because they saw the prison not as a prison but as a home. They were blind because they did not see.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e was born in 1967 in Reykjavík. He formed the Best Party in 2009 and became the mayor of Reykjavík in 2010. His acting work includes the movies \u003cem\u003eThe Icelandic Dream\u003c\/em\u003e and \u003cem\u003eA Man Like Me\u003c\/em\u003e and the television series \u003cem\u003eThe Night Shif\u003c\/em\u003et, which aired on BBC4. As a child, Gnarr was diagnosed with severe mental retardation due to dyslexia, learning difficulties, and ADHD. He nevertheless overcame his hardships and went on to become one of Iceland’s most well-known actors and comedians, and published the first two volumes in his fictionalized autobiography in 2006, \u003cem\u003eThe Indian\u003c\/em\u003e, and 2009, \u003cem\u003eThe Pirate\u003c\/em\u003e (the third volume, \u003cem\u003eThe Outlaw\u003c\/em\u003e will be published in Iceland in fall 2015–Deep Vellum will publish the trilogy in full in 2015-2016).In late 2009 Gnarr formed the joke Best Party with a number of friends with no background in politics. The Best Party, which was a satirical political party that parodied Icelandic politics and aimed to make the life of the citizens more fun, managed a plurality win in the 2010 municipal elections in Reykjavik, and Gnarr became Major of Reykjavik (there’s a great documentary on Gnarr’s campaign, which introduces you to Gnarr’s unique and inspiring personality, called Gnarr). His term as mayor ended in June 2014 and he plans to use his post-mayor years to continue writing and speaking on issues that are most important to him: freedom of speech, human rights, protecting the environment, and achieving international peace. Now that his term as mayor is complete, he has moved to Texas to focus on writing, speaking on issues he holds most dear (world peace, sexual and gender equality, freedoms for writers and journalists), and performing stand-up comedy again\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509428060323,"sku":"9781941920206","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509428093091,"sku":"9781941920213","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/011-The_Pirate.jpg?v=1597089052"},{"product_id":"the-journey","title":"The Journey","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/sergio-pitol\/\"\u003e\u003cstrong\u003eSergio Pitol\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by George Henson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe second book in Sergio Pitol's groundbreaking and influential \"Trilogy of Memory.\"\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e August 18, 2015\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920183\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920190\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Reading Pitol, one has the impression of being before the greatest writer in the Spanish language in our time.\" —Enrique Vila-Matas\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Journey\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efeatures one of the world's master storytellers at work as he skillfully recounts two weeks of travel around the Soviet Union in 1986. From the first paragraph, Sergio Pitol dislocates the sense of reality, masterfully and playfully blurring the lines between fiction and fact.\u003c\/p\u003e\n\u003cp\u003eThis adventurous story, based on the author's own travel journals, parades through some of the territories that the author lived in and traveled through (Prague, the Caucasus, Moscow, Leningrad) as he reflects on the impact of Russia's sacred literary pantheon in his life and the power that literature holds over us all.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Journey\u003c\/em\u003e, the second work in Pitol's remarkable \"Trilogy of Memory\" (which Deep Vellum is publishing in its entirety), which won him the prestigious Cervantes Prize in 2005 and inspired the newest generation of Spanish-language writers, represents the perfect example of one of the world's greatest authors at the peak of his power.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cstrong\u003eSergio Pitol Demeneghi\u003c\/strong\u003e is one of Mexico's most acclaimed writers, born in the city of Puebla in 1933. He studied law and philosophy in Mexico City. He is renowned for his intellectual career in both the field of literary creation and translation and is renowned for his work in the promotion of Mexican culture abroad, which he achieved during his long service as a cultural attaché in Mexican embassies and consulates across the globe. He has lived perpetually on the run: he was a student in Rome, a translator in Beijing and Barcelona, a university professor in Xalapa and Bristol, and a diplomat in Warsaw, Budapest, Paris, Moscow and Prague. Pitol is a contemporary of the most famous authors of the Latin American \"Boom\", and began publishing novels, stories, criticism, and translations in the 1960s. In recognition of the importance of his entire canon of work, Pitol was awarded the two most important prizes in the Spanish language world: the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages) and the Cervantes Prize, the most prestigious literary prize in the Spanish language world, often called the \"Spanish language Nobel,\" in 2005. Deep Vellum will publish Pitol's \u003cem\u003eTrilogy of Memory\u003c\/em\u003e in full in 2014-2015 (\u003cem\u003eThe Art of Flight; The Journey; \u003c\/em\u003eand\u003cem\u003e The Magician of Vienna\u003c\/em\u003e), marking the first appearance of any of Pitol's books in English.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eGeorge Henson\u003c\/strong\u003e is a literary translator and assistant professor of translation at the Middlebury Institute of International Studies in Monterey. His translations include Cervantes Prize laureate Sergio Pitol’s \u003cem\u003eTrilogy of Memory\u003c\/em\u003e, \u003cem\u003eThe Heart of the Artichoke\u003c\/em\u003e by fellow Cervantes recipient Elena Poniatowska, and Luis Jorge Boone’s \u003cem\u003eCannibal Nights\u003c\/em\u003e. His translations have appeared variously in \u003cem\u003eThe Paris Review, The Literary Review, BOMB, The Guardian, Asymptote, \u003c\/em\u003eand\u003cem\u003e Flash Fiction International\u003c\/em\u003e. In addition, he is a contributing editor for \u003cem\u003eWorld Literature Today\u003c\/em\u003e and the translation editor for its sister publication \u003cem\u003eLatin American Literature Today\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cspan\u003eTold in intelligent and warm prose, Pitol once again shows the reader the profound importance of literature and travel in living a meaningful life. Bursting with wisdom and memories, \u003c\/span\u003eTHE JOURNEY\u003cspan\u003e is another unforgettable trip with a masterful guide.\" \u003cstrong\u003e—Brazos Bookstore Staff Pick\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Witty, engaging, and regularly dizzying with its shifts between the real and the absurd, \u003c\/span\u003e\u003cem\u003eThe Journey\u003c\/em\u003e\u003cspan\u003e lives up to Pitol’s reputation as one of Mexico’s most intriguing writers.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pitol is a tactful writer who masterfully handles hundreds of different subjects in a compact, novel-like form. . . . One of his great strengths is to turn from comic sentences to those of poetic resonance with a seamless and subtle finesse....this and the preceding volume—\u003c\/span\u003e\u003cem\u003eArt of Flight\u003c\/em\u003e\u003cspan\u003e—are some of the best to be published by a small press in the last few years.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMatt Pincus, \u003cem\u003eBookslut\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Sergio Pitol is not only our best active storyteller, he is also the bravest renovator of our literature.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eÁlvaro Enrigue, author of \u003cem\u003eSudden Death\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pitol is probably one of Mexico's most culturally complex and composite writers. He is certainly the strangest, most unfathomable, and eccentric. . . . [His] voice . . . reverberates beyond the margins of his books.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eValeria Luiselli, author of \u003cem\u003eThe Story of My Teeth\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pitol is unfathomable; it could almost be said that he is a literature entire of himself.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDaniel Saldaña Paris, author of \u003cem\u003eAmong Strange Victims\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Reading Sergio Pitol will make any serious writer want to write—and write better. . . . In Pitol’s life and his writing, neither images nor thoughts flow naturally and automatically to their logical associations. The paradox is that these two books demonstrates this incongruity and the uncertainty it creates with absolute precision.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eWest Camel, \u003cem\u003e3:AM Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Simultaneously bewildering and fascinating. . . . To close \u003c\/span\u003e\u003cem\u003eThe Journey\u003c\/em\u003e\u003cspan\u003e, indeed, is to feel as if a dream has ended and the reader is finally returning to the real world with its harsh surfaces and clear light.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJeffrey Zuckerman, \u003cem\u003eThe Quarterly Conversation\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"In order to enjoy \u003c\/span\u003e\u003cem\u003eThe Journey\u003c\/em\u003e\u003cspan\u003e, the second volume of revered Mexican author Sergio Pitol’s idiosyncratic autobiographical trilogy, the reader must abandon expectations: of genre, of structure, of distinctions between the aesthetic “truth” of dreams and fiction, and truth in the sense of literal accuracy. Those who take this leap will find Pitol a warm companion and an erudite guide through both his own artistic process and a compelling moment in history that has much to say to our own.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAnne Posten, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Witty, engaging, and regularly dizzying with its shifts between the real and the absurd, \u003c\/span\u003e\u003cem\u003eThe Journey\u003c\/em\u003e\u003cspan\u003e lives up to Pitol’s reputation as one of Mexico’s most intriguing writers.\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pitol's incredible journey through Soviet Prague \u0026amp; Russia. A gorgeous, insight into literature, history, and a life lived through words. Sergio Pitol is one of Mexico's greatest authors.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMark Haber, Brazos Bookstore (Houston, Texas)\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e“In order to enjoy \u003cem\u003eThe Journey\u003c\/em\u003e, the second volume of revered Mexican author Sergio Pitol’s idiosyncratic autobiographical trilogy, the reader must abandon expectations: of genre, of structure, of distinctions between the aesthetic “truth” of dreams and fiction, and truth in the sense of literal accuracy. Those who take this leap will find Pitol a warm companion and an erudite guide through both his own artistic process and a compelling moment in history that has much to say to our own.” \u003cstrong\u003e—Anne Posten, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Lively, enlightening reading. . . . What Pitol brings to his writing is an exuberant passion that is leavened with a mature intelligence. In his search for whatever is truly original in literature and in life, he skewers any and all forms of pretentiousness.” \u003cstrong\u003e—Terry Pitts, \u003cem\u003eVertigo\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eAnd suddenly, one day, I asked myself: Why have you never mentioned Prague in your writings? Don’t you get tired of constantly returning to the same stale topics: your childhood at the Potrero sugar mill, your astonishment upon arriving in Rome, your blindness in Venice? Do you perhaps enjoy feeling trapped inside that narrow circle? Out of sheer habit or loss of vision, of language? Is it possible that you’ve turned into a mummy or a corpse, without even realizing it?\u003c\/p\u003e\n\u003cp\u003eShock treatment can yield amazing results. It stimulates weakened fibers and rescues energy on the verge of being lost. Sometimes it’s fun to provoke yourself. Without going overboard, of course; I never ridicule myself in my self-criticism; I’m careful to alternate severity with panegyric. Instead of dwelling on my limitations, I’ve learned to accept them graciously and even with a degree of complicity. From this game, my writing is born; at least that’s how it seems to me.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509285683363,"sku":"9781941920183","price":12.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509285716131,"sku":"9781941920190","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/007-The_Journey.jpg?v=1597087682"},{"product_id":"the-mountain-and-the-wall","title":"The Mountain and the Wall","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBy\u003c\/b\u003e\u003ca data-mce-fragment=\"1\" href=\"http:\/\/deepvellum.org\/authors\/alisa-ganieva\/\" data-mce-href=\"http:\/\/deepvellum.org\/authors\/alisa-ganieva\/\"\u003e \u003cb data-mce-fragment=\"1\"\u003eAlisa Ganieva\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTranslated from the Russian by Carol Apollonio\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eA rumor spreads through Dagestan’s capital city, Makhachkala: the Russian government is building a wall to close off its Caucasus republics from the rest of the country. Ethnic and religious tensions mount—no one is spared from the consequences. But like a vision in the midst of this nightmare, the image of a “Mountain of Celebrations” appears, a refuge for all those who are tired of the intolerance and violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePublication Date:\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e June 30, 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePaperback:\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920152\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eeBook:\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e 9781941920145\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDescription\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"Never before has Russian literature produced such an honest and complete picture of today's Caucasus.\"—\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eKommersant Weekend\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (Russia)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e\"\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Mountain and the Wall \u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eis a major event in contemporary Russian literature.\" —Ulrich M. Schmid, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNeue Zürcher Zeitung\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (Germany)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThis remarkable debut novel by a unique young Russian voice portrays the influence of political intolerance and religious violence in the lives of people forced to choose between evils.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Mountain and the Wall\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e focuses on Shamil, a young local reporter in Makhachkala, and his reactions, or lack thereof, to rumors that the Russian government is building a wall to cut off the Muslim provinces of the Caucasus from the rest of Russia. As unrest spreads and the tension builds, Shamil's life is turned upside down, and he can no longer afford to ignore the violence surrounding him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eWith a fine sense for mounting catastrophe, Alisa Ganieva tells the story of the decline of a society torn apart by its inherent extremes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAlisa Ganieva\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, born in 1985, grew up in Makhachkala, Dagestan. Her literary debut, the novella \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eSalaam, Dalgat!\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, won the prestigious Debut Prize in 2009. Shortlisted for all of Russia's major literary awards, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Mountain and the Wall\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is her first novel, and has already been translated into several languages. Ganieva lives in Moscow, where she works as a journalist and literary critic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCarol Apollonio, PhD\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, is a professor of Slavic and Eurasian studies at Duke University. Her most recent translations include German Sadulaev's \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Maya Pill\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (Dalkey Archive, 2014). In addition to being an accomplished translator, Dr. Apollonio is also a scholar specializing in the works of Dostoevsky and Chekhov and on problems of translation.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eReviews\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“A brilliant book, and a reminder that the problem with good speculative fictions is that history has a way of proving them prophetical.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Anthony Marra, author of \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eA Constellation of Vital Phenomena\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“It’s a really astonishing novel, a knowing and satirical account of the current situation in the North Caucasus, which is, in Alisa’s hands, a mix of medieval custom, superstition, radicalism, capitalism, bling, Sovietica and 21st-century technology: gold-hilted daggers, Lenin statues, mujahideen and leopard-skin miniskirts. …It’s a liberating joyful read, despite the grim subject matter. Alisa is a clever and clear-eyed writer with a strong sense of literary purpose and I can’t wait to read her next book.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Sasha Dugdale\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“One of those novels that reminds us why reading world literature can be so compelling. . . . masterfully blends the ingredients of a society being torn apart by ideologies with all the little details that make the nonnative reader feel as if he or she has tasted the local cuisine from a family kitchen rather than a concept gastropub. It is a mass disaster novel as viewed through the eyes of young adults who mostly just want the freedom to dance, listen to music, and engage in courtship behavior, however clumsy.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Rob Vollmar, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWorld Literature Today\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e (Editor’s Pick)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Ganieva’s writing has a kind of magic. . . . The way that the story is told is sort of stream of consciousness, which inserts the reader into the pulse of the action, confronting the fears and frustrations of the people in Dagestan.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Lauren Smart, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDallas Observer\u003c\/i\u003e\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e (“10 Books To Read this Fall”)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“The arrival into English of a Dagestani novel is an event with little precedent and as such should be welcomed. . . . An ambitious and informative book.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Natasha Randall, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Times Literary Supplement (TLS)\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“The Mountain and the Wall is a compelling read that masterfully intertwines the politics of the contemporary Caucasus with an all-too-realistic dystopian future. More importantly, the wide release of this work makes Dagestan, in particular, and the Caucasus, in general, more visible to the rest of the world. It takes a snapshot of the complicated political, religious, and cultural landscape that, sadly, very few have taken the time to understand.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Patrick Hall, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eInternational Policy Digest\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Never before has Russian literature produced such an honest and complete picture of today’s Caucasus.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—\u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKommersant Weekend\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Though it is the first book set in the region of Dagestan to published in English and the events depicted are foreign to the American experience, at its heart, Ganieva’s compelling story is a universal one of a young man trying to make sense of this crazy world, while making money, sustaining friendships, protecting his family, and falling in love.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Josh Cook, Porter Square Books\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“The land, seen in its beauty and the depths of the past, is the beating heart of Ganieva’s novel. Troubles may not be overcome, but they might be survived, and that love and the resiliency of a community ever malleable is the path to it. The Mountain and the Wall asks us to love and understand Dagestan, and the ask is compelling.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—P.T. Smith, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFull-Stop\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Passionate and stylistically accomplished . . . Ganieva vividly portrays the disrupted patterns of contemporary life, the disjuncture between the rational, modern world and the primitive extremism that threatens it. She harnesses the tropes of apocalyptic fiction: mobile phone blackouts, boarded-up airports, anarchy, the rise of cults, just as Emily St. John Mandel does in the recent bestseller Station Eleven. Like Mandel, Ganieva is less interested in the mechanics of the doomsday scenario than its social and psychological repercussions.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Phoebe Taplin, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eRussia Beyond the Headlines\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Complex in a nineteenth-century, great-multi-plot-Russian-novel way, especially in the religious and political fervor of the distinctly Dostoevskian crowd scenes that fuel the action; it’s compelling in its topical exploration of Islamic fundamentalism and annexation by or expulsion from the Russia Federation, depending on that nation’s shifting whims, e.g. Crimea and Ukraine these last two years.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Genevieve Arlie, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eM—Dash\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Chapters filled with a babbling stream of consciousness form an ethnographic tour de force, and cover a wealth of rich local history, mixed in with traditional customs and their intersection with modern life of the 31 ethnic groups of Dagestan.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Robert Chenciner, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOpen Democracy\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“The Mountain and the Wall is a major event in contemporary Russian literature.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Ulrich M. Schmid, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNeue Zürcher Zeitung\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“Ganieva skilfully uses words from some of the 30-odd local languages and fragments of poems, fables, dreams and diaries to evoke this diverse republic sandwiched between war-torn Chechnya and the Caspian Sea.” \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e—Phoebe Taplin, \u003c\/b\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Guardian\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eExcerpt\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe most widespread and effective news medium was word of mouth. Rumors flew, mutating as they went, communicating mysterious tidings about mad cows in Botlikh, or apricots in Gergebil that all had suddenly withered and died, about an uprising in Mamedkala and Magarmkent, and about a counterattack by the mujahideen, who’d routed separatist Southern Dagestan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e“We have no nations, we have Allah!” proclaimed the chorus of voices on TV. “Chechens and Kabardins, Balkhars and Ingushes, Karachaves and Dagestanis will forget all borders, renounce their individual pre-Islamic dzhakhil customs, and rise up as one united Islamic front under the banner of tawhid!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eBut other rumors circulated as well—about forces that were rallying in the mountains around the Tariqat sheiks, about a covert plot against the Salafi government, about nationalist fronts preparing a surprise attack, and even about a new movement of militant atheists with a mixed program, not liberal exactly, but not communist either.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe people wandering the streets of the capital would occasionally stumble upon the city’s own decaying flesh. Water seethed up from under the manhole covers; electric wires arched and frayed, flared up and then went dead. Old women scurried around the streets, hunched under propane tanks, and people searching for food hastened to stand guard at the doorways of depleted stores that stood forlorn, devoid of their stocks.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBiographical Note\u003c\/b\u003e\u003c\/h5\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAlisa Ganieva\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, born in 1985, grew up in Makhachkala, the capital of Dagestan, and currently lives in Moscow. Her literary debut, the novella \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eSalaam, Dalgat!\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, published under a male pseudonym, provoked contradictory reactions in Russia: astonishment, especially among young Russians, at this unknown part of their country; and anger among radical Islamists at this negative portrayal of their homeland by one of their own. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eSalaam, Dalgat!\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e won the prestigious Debut Prize in 2009, and Ganieva revealed her true identity only at the award ceremony. Ganieva works as a journalist and literary critic. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Mountain and the Wall\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is her first novel, shortlisted for all three of Russia's major literary awards, and has already been translated into several languages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eDr. Carol Apollonio\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is Professor of Slavic \u0026amp; Eurasian Studies at Duke University. Her most recent translations include \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eGerman Sadulaev's\u003c\/b\u003e \u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe Maya Pill\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (Dalkey Archive, 2014) and new versions of Chekhov stories. In addition to being an accomplished translator,\u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003e Dr. Apollonio\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e is also one of the world’s foremost scholars on both \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eFyodor Dostoevsky\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnton Chekhov.\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e She was awarded the Russian Ministry of Cultures prestigious Chekhov Medal in 2011 for her contribution to the study of \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAnton Chekhov’s \u003c\/b\u003e\u003cspan data-mce-fragment=\"1\" style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eliterature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509376843939,"sku":"9781941920152","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509376909475,"sku":"9781941920145","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/006-Mountain_and_Wall.jpg?v=1597087870"},{"product_id":"calligraphy-lesson","title":"Calligraphy Lesson","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003cstrong\u003eMikhail Shishkin\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Russian by Marian Schwartz, Leo Shtutin, Sylvia Maizell, and Mariya Bashkatova\u003c\/strong\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eThe first English-language collection of short stories by Russia's greatest contemporary author, Mikhail Shishkin, the only author to win all three of Russia's most prestigious literary awards.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMay 12, 2015\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920039\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920022\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003e\u003cem\u003eCalligraphy Lesson \u003c\/em\u003eis the first English-language collection of short stories by Mikhail Shishkin, the most acclaimed contemporary author in Russia. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eOften included in discussions of Nobel Prize contenders, Shishkin is a master prose writer in the breathtakingly beautiful style of the greatest Russian authors, known for complex, allusive novels about universal and emotional themes. Shishkin's stories read like modern versions of the eternal literature written by his greatest inspirations: Boris Pasternak, Ivan Bunin, Leo Tolstoy, and Mikhail Bulgakov. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003eShishkin's short fiction is the perfect introduction to his breathtaking oeuvre, his stories touch on the same big themes as his novels, spanning discussions of love and loss, death and eternal life, emigration and exile. \u003cem\u003eCalligraphy Lesson\u003c\/em\u003e spans Shishkin's entire writing career, including his first published story, the 1993 Debut Prize winning \"Calligraphy Lesson,\" and his most recent story \"Nabokov's Inkblot,\" which was written for a dramatic adaptation performed in Zurich in 2013.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMikhail Shishkin\u003c\/strong\u003e is one of the most acclaimed contemporary Russian literary figures, and is the only author to win all three major Russian literary prizes (including the Russian Booker Prize). \u003cem\u003eThe Guardian \u003c\/em\u003esaid of Shishkin's writing: \"richly textured and innovative. . . arguably Russia's greatest living novelist.\" Born in Moscow 1961, Shishkin studied English and German at Moscow State Pedagogical Institute. After graduation he worked as a street sweeper, road worker, journalist, school teacher, and translator. He debuted as a writer in 1993, when his short story \"Calligraphy Lesson\" was published in \u003cem\u003eZnamya\u003c\/em\u003e magazine, which went on to win him the Debut Prize. Since 1995 he has lived in Switzerland. Shishkin's books have been translated into more than ten languages. His prose is universally praised for style, and his novels and stories deal with universal themes like death, resurrection, and love. Shishkin has been compared to numerous great writers, including Anton Chekhov, Vladimir Nabokov and James Joyce. Shishkin carries on the tradition of the greatest Russian writers, and admits to their influence in his work, \"Bunin taught me not to compromise, and to go on believing in myself. Chekhov passed on his sense of humanity - that there can’t be any wholly negative characters in your text. And from Tolstoy I learned not to be afraid of being naïve.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMarian Schwartz\u003c\/strong\u003e began her career in literary translation in 1978 with her translation of \u003cem\u003eLandmarks\u003c\/em\u003e, a 1909 collection of essays on the Russian intelligentsia written by some of Russia's most eminent philosophers of the day. In the three decades since then she has published over sixty volumes of fiction and nonfiction, biography, criticism, fine arts, and history. Schwartz studied Russian at Harvard University, Middlebury Russian School, and Leningrad State University and received a Master of Arts in Slavic Languages and Literatures from the University of Texas at Austin in 1975. Schwartz is perhaps best known for her prize-winning translations of works by Russian \u003cmeta charset=\"utf-8\"\u003eémigré writer Nina Berberova, including seven volumes of fiction (\u003cem\u003eThe Accompanist, The Tattered Cloak, Billancourt Tales, The Revolt, Cape of Storms, The Book of Happiness, and The Ladies from St. Petersburg\u003c\/em\u003e) and one biography (\u003cem\u003eMoura: The Dangerous Life of the Baroness Budberg\u003c\/em\u003e, translated with Richard D. Sylvester). Schwartz's translation of Edvard Radzinsky's \u003cem\u003eThe Last Tsar: The Life and Death of Nicholas II\u003c\/em\u003e was on the \u003cem\u003eNew York Times\u003c\/em\u003e' bestseller list for sixteen weeks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLeo Shtutin\u003c\/strong\u003e is a final-year PhD student at Oxford and a freelance translator with knowledge of several languages and experience of professional translating and interpreting, as well as work at the BBC.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eMariya Bashkatova\u003c\/strong\u003e is a senior at Brown University studying Comparative Literature and Cognitive Neuroscience. At Brown, she writes for the school newspaper and is involved in the \u003cem\u003eAldus Journal of Translation\u003c\/em\u003e. Mariya is an avid reader and enjoys translating Russian and French literature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eSylvia Maizell\u003c\/strong\u003e studied Russian Literature at the University of Chicago, in Moscow and in Saint Petersburg, and has taught Russian. For the past decade she has worked as a translator from Russian, including stories by Mikhail Shishkin, Vladimir Makanin, Andrei Gelasimov, Ludmila Petrushevskaya, and Dina Rubina. Her translations have appeared in \u003cem\u003eThe Kenyon Review, Best European Fiction 2011, Moscow Noir, Russian Love Stories\u003c\/em\u003e (Middlebury Studies), \u003cem\u003eMetamorphoses, Partisan Review, \u003c\/em\u003eand\u003cem\u003e Dance Chronicle: Studies in Dance and Related Arts.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cstrong\u003eOne of \u003cem\u003eWorld\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e Literature Today\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e's 2015 Summer Reads\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\"A welcome volume of stories from Russia’s finest contemporary fiction writer, Mikhail Shishkin, full of his typical fusing of mysticism and modernist experimentation.\" \u003cstrong\u003e—Sam Sacks, \u003cem\u003eWall Street Journal\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003e\"Mikhail Shishkin is arguably Russia's greatest living novelist.\" \u003cstrong\u003e—\u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“[Shishkin] manages to engage Russia’s literary heritage while at the same time creating something new and altogether original.” \u003cstrong\u003e—\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“Shishkin has been described as the heir apparent of the great Russian novelists, and indeed, there are times when he seems to have taken the best from each of them.” \u003cstrong\u003e—\u003cem\u003eThe Quarterly Conversation\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cspan\u003e“Shishkin tends not to be sentimental or idealistic— indeed, he is usually quite the opposite—and this gives the more positive or transcendent moments extra punch.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eSibelan Forrester, \u003cem\u003eThe Slavic Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Shishkin is virtuosic, his subjects move through others' stories in dizzying\/awe-inspiring ways. Incredible!\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMaaza Mengiste, author of \u003cem\u003eBeneath the Lion's Gaze\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Though the stories in CALLIGRAPHY LESSON are steeped in Russian history and have a distinctly Russian tone, many of the philosophical quandaries they engage extend beyond language and borders — they are universal problems, and this translation boldly and successfully takes them on.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eCaroline North, \u003cem\u003eDallas Observer\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Shishkin is fantastically, magically talented.\" \u003cstrong\u003e—J\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eulie Hersh, \u003cem\u003eMusic \u0026amp; Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Compact, and at times riveting to read, this collection delivers a well-rounded portrait of Russian’s most acclaimed contemporary writer.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLucy Renner Jones, \u003cem\u003eWords Without Borders\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"An ideal introduction to Shishkin and his work.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMichael Orthofer, \u003cem\u003eComplete Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Nothing I read about [Shishkin], however, quite prepared me for the desperate urgency of CALLIGRAPHY LESSON, as if its lyricism were only a last match struck against the darkness. His prose breathes life – doesn’t breathe it, gasps it, aware of the perishability of words, of worlds dying in each instant, and us dying with them, as life is beaten out of us second by second.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eCynthia Haven, \u003cem\u003eThe Book Haven\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Characters with great pathos navigate a distinctly post-Soviet bedlam . . . The collection consists of artfully constructed, empathetic tales of people living in the midst cyclonic time.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJacob Kiernan, \u003cem\u003eNew Orleans Review\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"I highly recommend \u003c\/span\u003e\u003cem\u003eCalligraphy Lesson\u003c\/em\u003e\u003cspan\u003e for the beautiful language, moving stories and the emotional characters.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Book Binder's Daughter\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Complex and allusive . . . juxtaposed with autobiographical – and at times overtly politicised – narratives . . . [the final story] takes us beyond fiction and into the realm of the philosophical essay . . . the collection stands at the nexus between Shishkin’s novelistic output and his increasingly outspoken forays into the political arena . . .In CALLIGRAPHY LESSON, he celebrates art’s – and, more specifically, language’s – capacity to elevate us to the time-annihilating plateau.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eLeo Shtutin, \u003cem\u003eOpen Democracy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Shishkin’s life-affirming language posits transcendence.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eRobert H. McCormick Jr., \u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Shishkin’s agile, inventive narration reveals his homeland anew, showing once again why he has become one of Russia’s most valued storytellers—and an important new author in the West.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eLiteralab\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"[A] skillful achievement of complex, stylistic prose to evoke poignant themes common to all people, including love, life, family, and death. [Shishkin's] particular style is impressionistic, which matches the characteristics of his dominating theme: language.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDaniel P. Haeusser, \u003cem\u003eReading 1000 Lives\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e \u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cp\u003eIn the beginning there was love, not the word. The child has yet to be conceived, but the mother already loves him. And then, body inside body, love doesn’t need words. After the birth, mother and child still love each other nonverbally. Only with words, when verbal barriers arise between people who love each other, does alienation begin.\u003c\/p\u003e\n\u003cp\u003eThus, language creates barriers. Once they lost their sacral nature, words turned into a means of misunderstanding. Words don’t mean anything anymore. So you have to do something with these words to restore their original, Divine meaning.\u003c\/p\u003e\n\u003cp\u003eWords are guards that keep out emotion and meaning, sentries at the boundary between people. Either you need to learn to grope your way toward understanding each other, or else be able to escape over the verbal barbed wire.\u003c\/p\u003e\n\u003cp\u003eThere is no road to understanding except through words.\u003cbr\u003eWord corpses watch over us. The only way to get past them is to revive them. We have to breathe new life into them, so that love can once again be called love.\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35464976924835,"sku":"9781941920039","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35464976957603,"sku":"9781941920602","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/005-Calligraphy_Lesson.jpg?v=1596661064"},{"product_id":"the-indian","title":"The Indian","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/jon-gnarr\/\"\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Icelandic by Lytton Smith\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eJón Gnarr's literary debut and the first book in a trilogy exploring his tortured childhood and adolescence that made him into the man the world knows and loves today.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date:\u003c\/strong\u003e May 5, 2015\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920121\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920138\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\"A beautiful but disturbing portrait of a misfit painfully aware that he's not like anyone else.\" —\u003cem\u003eNPR\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eFormer comedian (and mayor) Jón Gnarr now turns his lens from politics to tell his life story in his literary debut.\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a highly entertaining and bittersweet literary memoir by Jón Gnarr, the world-famous Icelandic comedian and former Mayor of Reykjavik, Iceland, revisiting his troubled childhood. Diagnosed as \"retarded\" because of his severe dyslexia and ADHD, Gnarr spent time in a \"home for retarded children\" before getting out, only to find himself subjected to constant bullying, leading the young Gnarr to identify with the Indians against bully cowboys on TV.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis the first book in a trilogy that looks back at Gnarr's childhood and adolescence, providing the unparalleled coming of age story of an outcast who overcame the odds and matured into a world-renowned comedian, actor, writer, and politician. Each book in the trilogy is told with the warmth and humor that defines Gnarr's unique personality, allowing readers of all ages to identify with his story.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Let \"normal\" people have their 'normal' heroes. The rest of us have Jón Gnarr, and the world's a better place for it.\" \u003cstrong\u003e—Michael Schaub, \u003cem\u003eNPR\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Loved\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Indian\u003c\/em\u003e. Am adding \"lice-rats\" to my lexicon. No one will never know I stole it from the poor people of Blesugrof.\" \u003cstrong\u003e—Doug Stanhope, via Twitter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"By turns funny and despairing (Gnarr had ADHD and severe dyslexia as a child), as well as providing a glimpse into Icelandic culture beyond Björk,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis entertaining and enlightening.\" \u003cstrong\u003e—Cary Darling, \u003cem\u003eFort Worth Star-Telegram\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"A dark memoir full of black humor that details the author’s painful experiences as a child unable to fit in due to struggling with learning and emotional disorders, Gnarr’s book illuminates the struggles that come from being considered broken. Written with cleverly shifting points of view, this haunting narrative invites readers to consider the trauma of an outcast child.\" \u003cstrong\u003e—\u003cem\u003eWorld Literature Today\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Painful yet intensely beautiful.\" \u003cstrong\u003e—Nancy O’Donnell, \u003cem\u003eRochester (NY) Democrat \u0026amp; Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"Gnarr’s finest accomplishment in this book, surpassing others in the genre, is the absolute immediacy of the childhood experience. . . . Gnarr returns those emotions—all the emotions of childhood—to their context, adding the suffering of learning them, finding new restrictions, fearing ones you don’t know, and we relate to them once again. This is the gift of The Indian, the way that it makes the child, our child-self, alive, close to heart and mind, in all his pain and his happiness.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis brave in this gift, and dares me to be brave too, enough to find the child of my past and make him present.\"\u003cspan\u003e \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eP.T. Smith, \u003cem\u003eThree Percent\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"A novel about self-discovery in a world where being different is of no good. It is an ingenious and bleak book, cleverly exploring the life of a ginger misfit, with writing that seamlessly blends Jon Gnarr’s comedic abilities with an emotional connection that results in a need to learn everything there is to know about the boy who didn’t fit in his surroundings and wanted to become an Indian.\" \u003cstrong\u003e—Denis Barbov, \u003cem\u003eGraphic Policy\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"\u003cem\u003eThe Indian\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis refreshingly original because it not only speaks to a very specific subset of people who have learned to cope with, or are learning to cope with their learning disabilities, but also anyone who has ever experienced feeling like an outcast or alone in their childhood, aka: Everyone. Gnarr’s story is incredibly relevant to all our lives and this is a book that needed to be written . . .this story of Jón Gnarr, similarly to how it was necessary to write, is a book that must be read.\" \u003cstrong\u003e—Eilidh, \u003cem\u003eYoung Adults Book Central\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"As a Psychiatrist I found this book to be amazing. I loved the juxtaposition between his experience and the excerpts before each chapter from various Psychiatrists. This is the best first-person account of the real neuro-biological differences that children with serious learning differences have. This is a bittersweet story but Gnarr's genius is in how he keeps the tone victorious. I loved this book.\" \u003cstrong\u003e—Adam Rekerdres via Goodreads\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\"A candid, anecdotal, and lighthearted approach to political speeches is what propelled Gnarr into popularity in the wake of Iceland’s 2008 financial crisis. His Best Party, composed of punk rockers, campaigned on free towels in all swimming pools and a polar bear for the capital’s zoo, among other things.” \u003cstrong\u003e—\u003cem\u003eForeign Policy\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eIf I find I don’t like the rules when I’m grown up, will I have to stick with them? I’m simply myself. Is there a place for me? I know some of the rules, even if I don’t know everything. I know how to talk better than everyone else. I know plenty. I’m funny. I know how to say entertaining things. Maybe I can tell stories when I grow up. I can tell people stories and take part that way. I’d like to be a part of things. It’s just that I’m a bit weird. I’m not like the others. I’m not good at anything that’s of any value.I feel bad about myself. I don’t feel good inside. I feel so bad that I get tears in my eyes when I think about it. So I don’t think about it.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eBiographical Note\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp data-pm-slice=\"1 1 []\" class=\"\"\u003e\u003cstrong\u003eJón Gnarr\u003c\/strong\u003e was born in 1967 in Reykjavík. He formed the Best Party in 2009 and became the mayor of Reykjavík in 2010. His acting work includes the movies \u003cem\u003eThe Icelandic Dream\u003c\/em\u003e and \u003cem\u003eA Man Like Me\u003c\/em\u003e and the television series \u003cem\u003eThe Night Shif\u003c\/em\u003et, which aired on BBC4. As a child, Gnarr was diagnosed with severe mental retardation due to dyslexia, learning difficulties, and ADHD. He nevertheless overcame his hardships and went on to become one of Iceland’s most well-known actors and comedians, and published the first two volumes in his fictionalized autobiography in 2006, \u003cem\u003eThe Indian\u003c\/em\u003e, and 2009, \u003cem\u003eThe Pirate\u003c\/em\u003e (the third volume, \u003cem\u003eThe Outlaw\u003c\/em\u003e will be published in Iceland in fall 2015–Deep Vellum will publish the trilogy in full in 2015-2016).In late 2009 Gnarr formed the joke Best Party with a number of friends with no background in politics. The Best Party, which was a satirical political party that parodied Icelandic politics and aimed to make the life of the citizens more fun, managed a plurality win in the 2010 municipal elections in Reykjavik, and Gnarr became Major of Reykjavik (there’s a great documentary on Gnarr’s campaign, which introduces you to Gnarr’s unique and inspiring personality, called Gnarr). His term as mayor ended in June 2014 and he plans to use his post-mayor years to continue writing and speaking on issues that are most important to him: freedom of speech, human rights, protecting the environment, and achieving international peace. Now that his term as mayor is complete, he has moved to Texas to focus on writing, speaking on issues he holds most dear (world peace, sexual and gender equality, freedoms for writers and journalists), and performing stand-up comedy again\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509265662115,"sku":"9781941920121","price":14.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509265694883,"sku":"9781941920138","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/003-The_Indian.jpg?v=1597087593"},{"product_id":"the-art-of-flight","title":"The Art of Flight","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/sergio-pitol\/\"\u003e\u003cstrong\u003eSergio Pitol\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by George Henson\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe maestro of Mexican literature published in English for the first time in his masterpiece: a multigenre literary memoir reflecting on a life lived through literature.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eMarch 17, 2015\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920060\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920077\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Pitol is unfathomable; it could almost be said that he is a literature entire of himself.\" —Daniel Saldaña Paris, author of \u003cem\u003eAmong Strange Victims\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe debut work in English by Mexico's greatest and most influential living author and winner of the Cervantes Prize (\"the Spanish language Nobel\"),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etakes the reader on a whirlwind tour of the world's cultural capitals as Sergio Pitol looks back on his well-traveled life as a legendary author, translator, scholar, and diplomat.\u003c\/p\u003e\n\u003cp\u003eThe first work in Pitol's \"Trilogy of Memory,\"\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eimaginatively blends the genres of fiction and memoir in a Borgesian swirl of contemplation and mystery, expanding our understanding and appreciation of what literature can be and what it can do.\u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eSergio Pitol Demeneghi\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e(1933-2018) was one of Mexico’s most influential and well-respected writers, born in the city of Puebla. He studied law and philosophy in Mexico City, and spent many years as a cultural attaché in Mexican embassies and consulates across the globe, including Poland, Hungary, Italy, and China. He is renowned for his intellectual career in both the field of literary creation and translation, with numerous novels, stories, criticisms, and translations to his name. Pitol is an influential contemporary of the most well-known authors of the Latin American “Boom,” and began publishing his works in the 1960s. In recognition of the importance of his entire canon of work, Pitol was awarded the two most important prizes in the Spanish language world: the Juan Rulfo Prize in 1999 (now known as the FIL Literary Award in Romance Languages) and the Cervantes Prize, the most prestigious Spanish-language literary prize, often called the “Spanish language Nobel,” in 2005.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eGeorge Henson\u003c\/strong\u003e is a literary translator and assistant professor of translation at the Middlebury Institute of International Studies in Monterey. His translations include Cervantes Prize laureate Sergio Pitol’s \u003cem\u003eTrilogy of Memory\u003c\/em\u003e, \u003cem\u003eThe Heart of the Artichoke\u003c\/em\u003e by fellow Cervantes recipient Elena Poniatowska, and Luis Jorge Boone’s \u003cem\u003eCannibal Nights\u003c\/em\u003e. His translations have appeared variously in \u003cem\u003eThe Paris Review\u003c\/em\u003e, \u003cem\u003eThe Literary Review\u003c\/em\u003e, \u003cem\u003eBOMB\u003c\/em\u003e, \u003cem\u003eThe Guardian\u003c\/em\u003e, \u003cem\u003eAsymptote\u003c\/em\u003e, and \u003cem\u003eFlash Fiction International\u003c\/em\u003e. In addition, he is a contributing editor for \u003cem\u003eWorld Literature Today\u003c\/em\u003e and the translation editor for its sister publication \u003cem\u003eLatin American Literature Today\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eIncluded in \u003cem\u003eEl País\u003c\/em\u003e's \"100 Best Books in the Last 25 Years\"\u003cbr\u003eOne of \u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e's 10 Essential Spanish-Language Books\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\"Pitol is not just our best living storyteller, he is also the strongest renovator of our literature.\" \u003cstrong\u003e—Álvaro Enrigue, author of \u003cem\u003eSudden Death\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"To call \u003c\/span\u003e\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e autobiography, essay, or memoir is an understatement. Life, fiction, memories, and readings intertwine in this book with astonishing ease, and the result is a volume that reads like a novel. Rome, Barcelona, Moscow, Prague, Warsaw, and Chiapas are just a few of the territories explored. Sergio Pitol is one of the great Spanish-speaking authors from recent history, mentor and model for many writers from Spain and Latin America. This book is an excellent introduction to the Pitolian universe.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDaniel Saldaña Paris, \u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"A book as unique and remarkable as its author.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eRosie Clarke, \u003cem\u003eMusic \u0026amp; Literature\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"One of Mexico’s most culturally complex and composite writers.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003ePublishers Weekly\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Masterful. . . . Known for questioning the limitations of language, Pitol uses \u003c\/span\u003e\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e to chronicle his young life. . . . He swirls together memories with poetic reflection, in a way that feels at home in America's memoir culture, but without this obsession with nonfiction.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eThe Dallas Observer\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e is a book bursting with energy and curiosity. It is a collection of observations, set of diaries, travelogue and much more. It defies categorisation and cannot be summarised. Only experienced.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eOn Art \u0026amp; Aesthetics\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Certainly the strangest, most unfathomable and eccentric. . . . His voice reverberates beyond the margins of his books.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eValeria Luiselli, author of \u003cem\u003eFaces in the Crowd\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Reading him, one has the impression . . . of being before the greatest Spanish-language writer of our time.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eEnrique Vila-Matas\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Went to bed reading Sergio Pitol's \u003c\/span\u003e\u003cem\u003eArt of Flight\u003c\/em\u003e\u003cspan\u003e. . . . So full \u0026amp; rich, I think I'll savor [it].\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMaud Newton, via Twitter\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The bountiful work of [Sergio Pitol] is one of the most original in the Spanish language.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"If you are one of those who believes the experience must be lived to be true, that Alice and the Cheshire Cat are merely words on a page, that Ahab’s biblical diatribes are just hyperbole from the brow of Melville, and that these in themselves do not count as experience—if you are one who does not believe in the transportive and life-affirming nature of literature, than this book is not for you. That being said, this book is for \u003c\/span\u003e\u003cem\u003eeveryone else\u003c\/em\u003e\u003cspan\u003e.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMark Haber, Brazos Bookstore\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"[\u003cem\u003eThe Journey\u003c\/em\u003e] and the preceding volume—\u003cem\u003eThe Art of Flight\u003c\/em\u003e\u003cspan\u003e—are some of the best to be published by a small press in the last few years.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMatt Pincus, \u003cem\u003eBookslut\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Whilst the reflections on Pitol’s life as a writer are thoroughly enjoyable and, at time, gripping, the book also includes a reading list to die for. His influences are too numerous to mention and there are anecdotes about certain influential writers, his own creative journey being altered by certain works, and in-depth analysis of other books. ...A “novel” that covers politics (free trade, unemployment), artistic creation, critics, sociology, travelogue and so much more.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eTony, \u003cem\u003eMessenger Booker\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“[The Art of Flight] is the most celebrated of Pitol’s novels. . . . It travels through readings—from Antonio Tabucchi to [William] Faulkner and Thomas Mann—through cities, films, notebooks and recordings, melancholy memories, hypnosis, and dreams.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eLetras Libres\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eIn Europe, I held various jobs, and at times I managed to survive without one. I moved frequently from one side of the famous wall whose appearance marked my arrival to the other. The thread that ties these years together, I’ve always known, is literature. All my personal experiences, in the end, have converged. For many years, my experiences traveling, reading, and writing merged into a single experience. The trains, the boats, and the airplanes have allowed me to discover worlds that were either wonderful or sinister, but all of them were surprising. Travel was the experience of the visible world; reading, on the other hand, allowed me to undertake an inner journey whose itinerary was not confined to space but rather let me move freely throughout time. Reading meant accompanying Mr. Bloom to the taverns of Dublin at the beginning of this century, Fabrice del Dongo through post-Napoleonic Italy, Hector and Achilles through the streets of Troy and the military camps that for many years surrounded it. And writing meant the possibility of embarking toward an elusive goal and fusing—thanks to that dark, inscrutable, and much-talked about alchemy one comes closer to the process of creation—the outside world and that subterranean one that inhabits us.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509203730595,"sku":"9781941920060","price":17.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509203763363,"sku":"9781941920077","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/002-Art_of_Flight.jpg?v=1597087086"},{"product_id":"texas-the-great-theft","title":"Texas","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eBy \u003c\/strong\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/carmen-boullosa\/\"\u003e\u003cstrong\u003eCarmen Boullosa\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003cstrong\u003eTranslated from the Spanish by Samantha Schnee\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cem\u003eTexas: The Great Theft.\u003c\/em\u003e 1859: Matasánchez and Bruneville. Two cities divided by the Río Bravo - or the Rio Grande, depending on which side you're on - filled with a volatile mix of characters... tensions are running high, and it all boils over one hot summer day...\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePublication Date: \u003c\/strong\u003eDecember 2, 2014\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003ePaperback:\u003c\/strong\u003e 9781941920008\u003cbr\u003e\u003cstrong\u003eeBook:\u003c\/strong\u003e 9781941920015\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eDescription\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\"Mexico's greatest woman writer.\" —Roberto Bolaño\u003c\/p\u003e\n\u003cp\u003eAn imaginative writer in the tradition of Juan Rulfo, Jorge Luis Borges, and Cesar Aira, Carmen Boullosa shows herself to be at the height of her powers with her latest novel. Loosely based on the little-known 1859 Mexican invasion of the United States,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTexas\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a richly imagined evocation of the volatile Tex-Mex borderland. Boullosa views border history through distinctly Mexican eyes, and her sympathetic portrayal of each of her wildly diverse characters—Mexican ranchers and Texas Rangers, Comanches and cowboys, German socialists and runaway slaves, Southern belles and dancehall girls—makes her storytelling tremendously powerful and absorbing.\u003c\/p\u003e\n\u003cp\u003eShedding important historical light on current battles over the Mexican–American frontier while telling a gripping story with Boullosa's singular prose and formal innovation,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTexas\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks the welcome return of a major writer who has previously captivated American audiences and is poised to do so again.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCarmen Boullosa\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(b. 1954) is one of Mexico's leading novelists, poets, and playwrights. Author of seventeen novels, her books have been translated into numerous world languages. Recipient of numerous prizes and honors, including a Guggenheim fellowship, Boullosa is currently Distinguished Lecturer at City College of New York.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSamantha Schnee\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eis founding editor and chairman of the board of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWords Without Borders\u003c\/em\u003e. She has also been a senior editor with\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eZoetrope\u003c\/em\u003e, and her translations have appeared in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGuardian\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGranta\u003c\/em\u003e, and the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNew York Times\u003c\/em\u003e.\u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eReviews\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cstrong\u003eNominated for the 2016 International Dublin Literary Award\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eGlobal Literature in Libraries Initiative Pick 2016\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eShortlisted for the 2015 PEN Translation Award\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eWinner of the 2014 Typographical Era Translation Award\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eOne of \u003cem\u003eWorld Literature Today\u003c\/em\u003e's 75 Notable Translations of 2014\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eOne of \u003cem\u003eBBC\u003c\/em\u003e's Ten Books to Read in December 2014\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\"A luminous writer . . . Boullosa is a masterful spinner of the fantastic.\" \u003cstrong\u003e—\u003cem\u003eMiami Herald\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Utterly entertaining—a comic tour de force. I loved the book and think it deserves a very wide readership.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003ePhilip Lopate\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"A lucid translation from the Spanish by Samantha Schnee. . . . [Boullosa's] tale, loosely based on the Mexican invasion of the US known as the ‘Cortina troubles’, evok[es] a history that couldn’t be more relevant to today’s immigration battles in the US.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJane Ciabattari, \u003cem\u003eBBC\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Boullosa's tour de force account of this bloody legacy...is not a documentary. Rather, it is satire at its highest, presenting numerous grotesque biographies of the alien invaders, while also lightly reviewing the genres that have made Wild West literature part of the national identity and psyche. . . . In all, \u003c\/span\u003e\u003cem\u003eTexas\u003c\/em\u003e\u003cspan\u003e is a very entertaining, masterly written novel, with a professional translation by Samantha Schnee.\"\u003cstrong\u003e —\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eNicolás Kanellos, \u003cem\u003eReview: Literature and Arts of the Americas\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Brutal, poetic, hilarious and humane...a masterly crafted tale.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eSjón\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Boullosa is one of Mexico's most respected writers and, with a book as rich as this under her belt, it's not difficult to understand why. As the repercussions of a shoot-out reverberate on both sides of the Rio Bravo (or Rio Grande, depending upon the side you're on), we're introduced to a cast list so extensive it rivals Dickens and a novel of such depth and scope that I can't resist comparing it to Tolstoy's work.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eGary Perry, Foyle's Flagship (Charing Cross, London)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Historical fiction at its very best, avoiding all semblance of caricature or appeals to stereotype. The classic Western.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eSan Francisco Chronicle\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"What is both moving and also lucid about Boullosa's prose, though, is her ability to take one in and out of a scene fraught with disorder and violence, and place one back in the rich spirit of humility encountering sublime beauty.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMatt Pincus, \u003cem\u003eBookslut\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Many of the events in [Texas] seem as if they just happened yesterday. . . . It’s a story that shows the foundation of many border issues today.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eMercedes Olivera, \u003cem\u003eDallas Morning News\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Think \u003c\/span\u003e\u003cem\u003eCatch-22\u003c\/em\u003e\u003cspan\u003e on the Mexican border. Carmen Boullosa's \u003c\/span\u003e\u003cem\u003eTexas: The Great Theft\u003c\/em\u003e\u003cspan\u003e is a surprisingly funny, intensely complex and occasionally shocking take on the revisionist Western. It's one of the most purely entertaining things I've read in awhile, while never losing a sense of erudite ambition and thought-provoking moral ambiguity. It's a book that grows on me every time I think about it.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eJustin Souther, Malaprops Bookstore (Asheville, NC)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Carmen Boullosa’s latest novel, \u003c\/span\u003e\u003cem\u003eTexas: The Great Theft\u003c\/em\u003e\u003cspan\u003e, is evidence that our ideas about postmodern cowpoke tales have been woefully premature. . . . What is outstanding in Boullosa’s work is the deep sympathy expressed for every human encountered.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eRoberto Ontiveros, \u003cem\u003eDallas Morning News\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"...a cross between W.G. Sebald and Gabriel García Márquez.\" \u003cstrong\u003e—\u003cem\u003eEl País\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Boullosa’s Texas is like one giant game of telephone. Everybody seems crazy to everybody else. . . . Boullosa’s Texas gives us a very different fiction than those told by nationalists of any stripe. . . . Security is theater because borders are fictions and because the empire has no clothes. But if political theater is ridiculous, Boullosa’s borderlands comedy explores why it is getting harder to laugh at Donald Trump.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAaron Bady, \u003cem\u003ePacific Standard Magazine\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e“Bizarre, comedic, fantastical, and unsettling — kind of how history feels when you’re forced to live through it.” \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eCaille Millner, \u003cem\u003eThe Millions\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Powerful yet whimsical . . . Boullosa’s humorous, offbeat tale makes the case that – no matter how small or marginalized, no matter where it exists in relation to some arbitrary geographical or racial border – every perspective matters.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eDavid Eric Tomlinson, Writer's League of Texas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Boullosa’s book is a wonderful romp . . . delightful reading . . . there are few completely good and moral characters in this book, making it a pretty realistic story despite the fanciful storytelling. The book patched up some holes in my understanding of Texas history.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eNancy Jane Moore, \u003cem\u003eBook View Café\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003e\"Carmen Boullosa truly brings history and injustice to life in \u003c\/span\u003e\u003cem\u003eTexas: The Great Theft\u003c\/em\u003e\u003cspan\u003e, weaving together borrowed moments from the volatile history of the Texas-Mexico border and a simple plot that is gracefully fed by the diverse characters living out the story.\" \u003cstrong\u003e—\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eBridey Heing, \u003cem\u003eThe Mantle\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\"\u003cem\u003eTexas: The Great Theft\u003c\/em\u003e, a novel set on the Texas–Mexico border in 1859 and featuring a large cast of characters living in a historical moment rife with political and racial conflicts, is exhilarating both in scope and imagination.\"\u003cmeta charset=\"utf-8\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e—\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eYiyun Lee, \u003cem\u003eNew York Review of Books\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e \u003c\/p\u003e\n\u003ch5 style=\"white-space: pre-wrap;\"\u003eExcerpt\u003c\/h5\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eEleven years have passed since the town of Bruneville was founded on the banks of the Rio Bravo, just a few miles up-river from the Gulf. It was named after Ciudad Castaño, the legendary shining city to the northwest, which was razed by the Apaches. In appropriating the name, Stealman aimed to trade on the sterling quality of the original.\u003c\/p\u003e\n\u003cp\u003eAt its founding, the following were present (without a shadow of a doubt):\u003c\/p\u003e\n\u003cp\u003e1) Stealman, the lawyer\u003cbr\u003e2) Kenedy, who owned the cotton plantation\u003cbr\u003e3) Judge Gold (back then he was plain Gold, he still hadn’t earned the nickname Judge)\u003cbr\u003e4) Minister Fear, his first wife, and their daughter Esther (may the latter two rest in peace)\u003cbr\u003e5) A pioneer named King.\u003c\/p\u003e\n\u003cp\u003eKing had a royal name, though when he’d arrived in Mexico he hadn’t a penny, didn’t own even a snake. But he was a master of chicanery. When some locals lent him low-grade land to use for seven years, it took him only a few months to emerge as the legitimate owner of immense tracts, on which it seemed to rain cattle from the clouds, as if they were a gift from god. But there was nothing remotely miraculous about the way King made his fortune. He was as good a trickster as any magician with a false-bottomed top hat. If King had been Catholic (as he claimed to be in the contract he signed with the Mexicans), the archdiocese would have been able to build a cathedral with the fortune he’d have to have given them as penance for his sins.\u003c\/p\u003e\n\u003cp\u003eIn 1848 King wasn’t the only one who went looking for a fortune, convinced that “Americans” had the right to take what belonged to the North Mexicans by whatever means necessary, fair or foul.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch5\u003eBiographical Note\u003c\/h5\u003e\n\u003cp\u003e\u003cb\u003eCarmen Boullosa\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is one of Mexico's leading novelists, poets, and playwrights. She has published over a dozen novels, two of which were designated the Best Novel Published in Mexico by the prestigious magazine \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eReforma\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—her second novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBefore\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, also won the renowned Xavier Villaurrutia Prize for Best Mexican Novel; and her novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLa otra mano de Lepanto\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e was also selected as one of the Top 100 Novels Published in Spanish in the past 25 years. Her most recent novel, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTexas: The Great Theft\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e won the 2014 Typographical Era Translation Award, was shortlisted for the 2015 PEN Translation Award, and has been nominated for the 2015 International Dublin Literary Award. Boullosa has received numerous prizes and honors, including a Guggenheim fellowship. Also a poet, playwright, essayist, and cultural critic, Boullosa is a Distinguished Lecturer at City College of New York, and her books have been translated into Italian, Dutch, German, French, Portuguese, Chinese, and Russian.\u003c\/span\u003e\u003cb\u003e Shelby Vincent\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e received her PhD in Literary Translation from the University of Texas at Dallas's School of Arts and Humanities in 2015. She is currently translating another of Boullosa's novels entitled \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Virgin and the Violin\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, which is loosely based on the female Renaissance artist Sofonisba Anguissola, and which Deep Vellum will publish in 2018.\u003c\/span\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35509183217827,"sku":"9781941920008","price":15.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35509183283363,"sku":"9781941920015","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/001-Texas.jpg?v=1597086786"},{"product_id":"home","title":"Home","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBy\u003c\/span\u003e\u003ca href=\"http:\/\/deepvellum.org\/authors\/leila-s-chudori\/\"\u003e \u003cspan style=\"font-weight: 400;\"\u003eLeila S. Chudori\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eTranslated from the Indonesian by John H. McGlynn\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecipient of the 2012 Khatulistiwa Literary Award, Indonesia's most prestigious literary prize, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a breathtaking, epic historical novel exploring the lives of Indonesian exiles from the 1965 anti-Communist massacre to the overthrow of Suharto in 1998.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePublications Date: October 27, 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003ePaperback: 9781941920107\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eeBook: 9781941920114\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNominated for the FT\/Oppenheimer Funds Emerging Voices Award 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"An ambitious saga that intertwines narration from various generations and creates a wide-ranging picture of Indonesia.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePublishers Weekly\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"An epic saga of families and friends entangled in the cruel snare of history\" (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTime Magazine\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eexamines the tragedy of political exiles during Suharto's regime (1965-1998) forced out of Indonesia after the 1965 massacre of presumed leftists and sympathizers, alternating between Paris and Jakarta, delving into the lives of the exiles, their families and friends. A story of longing, lust, and betrayal, but also love, laughter, adventure, and mouthwatering descriptions of Indonesian food, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e further illuminates Indonesia's tragic twentieth-century history made known in the West by the Oscar-nominated documentary \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Act of Killing\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNominated for the FT\/Oppenheimer Funds Emerging Voices Award 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Chudori relentlessly examines the complexity of having a \"home\"; home can be both political and personal, and involve remembering and forgetting. . . . the novel stays grounded with nostalgic themes of food and love, anchoring the reader with mouthwatering detail and the intrigue of Romeo and Juliet–esque affairs.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePublishers Weekly\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"A writer with a fine appreciation of social collisions and domestic dramas that mirror wider political concerns. . . . Special mention must be made of John McGlynn’s translation, which admirably brings to life the energy of Chudori’s storytelling. Whether describing Indonesia – 'a place that gave the world the scent of cloves and a wasted sadness' – or contemplating the life of a flâneur 'building his home in the flow and motion of movement', McGlynn is consistently able to capture the musicality of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBahasa Indonesia\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e on the page with pinpoint clarity – essential for a novel with a complicated, sometimes breathless structure.\" —Tash Aw, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Times Literary Supplement\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"A story of families and friends entangled in the cruel snare of history.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTime\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"The suffering and loss that Suryo and the other exiles face, while realistic, is also utterly heartbreaking . . . The history might be new for American readers, but the relationship issues are universal. \" —Hannah Wise, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDallas Morning News\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an interesting and powerful novel, one worth reading and thinking over. It's a book that lingers in your consciousness, not to mention the way the characters seem unwilling to leave your mind even weeks after reading.\" —Meytal Radzinski, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBibiblio\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"If you liked the food writing in Kitchens of the Great Midwest, you might give this one a try. It’s set in Indonesia and Paris and has lots of scenes in restaurants that will make your mouth water. It’s a sprawling, engrossing story, and a great portrayal of political upheaval in very different cultures and across several decades.?\" —Rebecca Hussey, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBook Riot\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Despite the background of violence and repression, it is also somehow a cosy read, about love and food in Paris and Jakarta.” —Hamish McDonald, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNikkei: Asian Review\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"An epic, ambitious slab of fiction crammed with a rich and diverse cast of characters whose lives have been swept along by Indonesia's dramatic and at times extremely tragic contemporary history . . . A wonderful exercise in humanism by a prodigious and impressive storyteller.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJakarta Globe\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"Never less than fascinating . . . a wonderful introduction to Indonesian literature for readers with an interest in political, historical novels.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTony's Reading List\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"It is rare to pick up a novel as powerful and engrossing as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e by Leila Chudori The narrative spans time and place to cast reflections on love at first sight, complex family dynamics, and identity. With vivid depictions of Indonesian cuisine and its preparation, Chudori tackles universal subjects through multi generational perspectives. Bridging the 1960's revolt and uprisings in France and Indonesia, she sheds light on life as a forced expatriate in Paris. Walks through the Père Lachaise Cemetery, poetry, and an eventual return to home through a documentary assignment help create the narrative of this marvelous, yet heartbreaking novel. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is one of my absolute favorite books of 2015!\" —Patrick Kukucka, Bookseller at Malaprop's Bookstore (Asheville, NC)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"[\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHome\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e] is a novel of art and education, and also of food and its importance in cementing a sense of community and belonging. For English-speaking readers unfamiliar with Indonesian culture and history, the novel is an excellent introduction. For any reader, it’s a thought-provoking read and a satisfying examination of what it means to have and then lose and then try to find one’s home.\" —Rebecca Hussey, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eFull-Stop\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"By turns beautiful, moving, tragic and life-affirming, and is a remarkable creative response to the barbarism of Suharto's notorious coup.\" —Gareth Richards, Bookseller at Gerakbudaya Bookshop (George Town, Penang, Malaysia)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"An excellent novel...[Chudori] tells a first-class story and, even if Indonesia is remote and unknown to us, we find ourselves sharing its troubles and very much taking the sides that Chudori wants us to take. This is her first novel and it is to be hoped that she writes more.\" —\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Modern Novel\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"This is a book worthy of your attention for its illumination of a part of Indonesian history that has been consistently given short shrift. Read it for the history, for the evocative settings, and for the flavour of Indonesia that wafts gently from its pages.” —Samantha Brown, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTravelfish\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eExcerpt\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn Jalan Sabang, Jakarta, April 1968\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNight had fallen, without complaint, without pretext. Like a black net enclosing the city, ink from a monster squid spreading across Jakarta’s entire landscape—the color of my uncertain future.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eInside the darkroom, I know not the sun, the moon, or even my wristwatch. But the darkness that envelopes this room is imbued with the scent of chemicals and anxiety.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThree years ago, the Nusantara News agency where I worked was cleansed of lice and germs like myself. The army was the disinfectant and we, the lice and the germs, were eradicated from the face of the earth, with no trace left. Yet, somehow, this particular louse had survived and was now eking out a living at Tjahaja Photo Studio on the corner of Jalan Sabang in central Jakarta.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI switched on the red light to inspect the strips of negatives hanging on the drying-line overhead. It must have been around 6 p.m. because I could hear the muzzled sound of the muezzin drifting in to the darkroom through the grate in the door, summoning the faithful for evening prayer. I imagined the scene on Jalan Sabang outside: the quarrelsome cackling of motorized pedicabs; the huffing and puffing of slow-moving opelets searching for passengers; the creaking of human-driven pedicabs in need of an oil job; the cring-cring sound of hand bells on bicycles as their riders wove their way through the busy intersection; and the cries of the bread seller on his three-wheel contraption with its large box and clear glass windows. I could even see the early evening wind bearing the smoke and smell rising from skewers of goat satay being grilled on the brazier at Pak Heri’s itinerant but immensely popular food stall located smack dab at the intersection of Sabang and Asem Lama. I could see him using his well-worn pestle to grind fried peanuts and thinly sliced shallots on an oversized mortar, then drizzling sweet soy sauce over the mix. And then I imagined my good friend, Dimas Suryo, studiously observing Pak Heri and discussing with him his choice of peanuts with the same kind of intensity that he might employ when dissecting a poem by Rivai Apin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlmost every evening, like clockwork, all other sounds from the outside were drowned out by the long shrill whistle from the steamer on Soehardi’s food cart as our regular vendor of steamed putu—a favorite treat of mine, those steamed rice-flour balls with their grated coconut on the outside and melted cane sugar inside—pulled up outside the photo studio. But other than the smell of Pak Heri’s goat satay, that sound was about the only thing—that shrieking sound—that was able to make its way into the darkroom. The deadly darkness of the developing room seemed to smother almost every sound. But the screak of the putu steamer and the smell of the cakes always served as a rap on the doors and windows of the photo studio. It was a sign the time had come for me to leave this room that knew no such a thing as time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch5\u003e\u003cstrong\u003eBiographical Note\u003c\/strong\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong\u003eLeila S. Chudori\u003c\/strong\u003e (Jakarta, 1962) is Indonesia's most prominent and outspoken female author \u0026amp; journalist. She has worked at the renowned Indonesian news magazine \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTEMPO\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e since 1989, where she is now Senior Editor. A scholarship recipient, she completed university studies at Trent University in Canada and returned to Indonesia in 1988. Chudori started publishing as a child at the age of 12 in children's magazines, and she is the author of several anthologies of short stories, novels, TV \u0026amp; film scripts, Chudori is considered one of Indonesia's boldest storytellers. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cstrong\u003eJohn H. McGlynn\u003c\/strong\u003e, a Wisconsin native, has lived in Jakarta since 1976. He received a masters degree in Indonesian language \u0026amp; literature from Michigan \u0026amp; he has translated or edited over 100 works. Through the Lontar Foundation, which he established with four Indonesian authors in 1987 to promote Indonesian culture internationally through literature, he has edited, translated, and published close to one hundred titles of and on Indonesian literature and culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deep Vellum","offers":[{"title":"Paperback","offer_id":35508697170083,"sku":"9781941920107","price":16.95,"currency_code":"USD","in_stock":true},{"title":"eBook","offer_id":35508697202851,"sku":"9781941920114","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0433\/1651\/0883\/products\/009-Home.jpg?v=1596836512"}],"url":"https:\/\/store.deepvellum.org\/collections\/deep-vellum.oembed?page=20","provider":"Deep Vellum","version":"1.0","type":"link"}