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The characters in False Warare ambivalent castaways living lives of deep estrangement from their home country, stranded in an existential no-man's land. Some of them want to leave and can't, others left and never quite finished getting anywhere. In this choral novel, employing a dazzling range of narrative styles from noir to autofiction, Carlos Manuel Álvarez brings together a series of interconnected stories of the perennially displaced. From Havana to Mexico City to Miami, from New York to Paris to Berlin, whether toiling in a barber shop, lost in the Louvre, competing in a chess hall in Cuba, plotting a theft, or on a trip for émigré dissidents, these characters learn that while they may appear to be on the move, in reality they are paralysed, living in permanent stasis. With a fractured narrative that brilliantly reflects the disintegration that comes with uprooting, full of tenderness, disenchantment and melancholy,False Waris an extraordinary novel that confirms Carlos Manuel Álvarez as one of the indispensable voices of his generation.
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After several years of absence, a man reappears in the life of a woman and their young son. Intent on being a family again, he drives them to Les Roches, a dilapidated house in the mountains, where the man grew up with his own ruthless father. While the mother watches the passing days with apprehension, the son discovers the enchantment of nature, savage and bewitching. As the father's hold over them intensifies, the return to their previous life and home seems increasingly impossible. Haunted by his past and consumed with jealousy, the man slowly sinks into madness and his son has no choice but to challenge his father in an attempt to save something of their humanity. Written in flawless, cinematic prose and brilliantly translated by Frank Wynne, The Son of Man is an exceptional novel of nature and wildness that traces how violence is inherited from one generation to the next, and a blistering examination of how families fold together and break apart under duress.
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Flower / Ed Atkins. - [miejsce nieznane] : Fitzcarraldo Editions : Legimi, 2025.
Forma i typ
'I like eating cold, clammy wraps from big pharmacies that are open late and sell just a few foods like protein bars and powders.' Flower is a book of realistic admissions, likes, dislikes, memories and no-brainer observations, treating personal truth as unavailable – something that must be made up and convincing. Taking cues from confessional literature, his daughter's improvised games, poor internet writing and shitty AI, Ed Atkins, in his first work of non-fiction, equivocates between inanity and divinity, ease and pain, sentimentality and sterility. An anti-memoir, a list, a listless blur – Flower is a highly original, moving and absurd book by one of the most influential artists of his generation, formally inventive and disturbingly of our time.
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A mother and daughter travel from abroad to meet in Tokyo: they walk along the canals through the autumn evenings, escape the typhoon rains, share meals in small cafes and restaurants, and visit galleries to see some of the city's most radical modern art. All the while, they talk: about the weather, horoscopes, clothes, and objects, about family, distance, and memory. But uncertainties abound. Who is really speaking here – is it only the daughter? And what is the real reason behind this elliptical, perhaps even spectral journey? At once a careful reckoning and an elegy, Cold Enough for Snow questions whether any of us speak a common language, which dimensions can contain love, and what claim we have to truly know another's inner world. Selected from more than 1,500 entries, Cold Enough for Snow won the Novel Prize, a new, biennial award offered by Fitzcarraldo Editions, New Directions (US) and Giramondo (Australia), for any novel written in English that explores and expands the possibilities of the form.
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The things that hold life in place have been lifted off and put away. Uprooted by circumstance from city to deep countryside, a woman lives in temporary limbo, visited by memories of all she's left behind. The most insistent are those of Xavier, who has always been certain he knows her better than anyone, better than she knows herself. Xavier, whom she still loves but no longer desires, a displacement he has been unable to accept. An unexpected letter from an old acquaintance brings back a torrent of others she's loved or wanted. Each has been a match and a mismatch, a liberation and a threat to her very sense of self. The ephemera left by their passage – a spilled coffee, an unwanted bouquet, a mind-blowing kiss – make up a cabinet of curiosity she inventories, trying to divine the essence of intimacy. What does it mean to connect with another person? What impels us to touch someone, to be touched by them, to stay in touch? How do we let them go? In yet another tour de force of fiction, Claire-Louise Bennett explores the mystery of how people come into and go out of our lives, leaving us forever in their grasp.
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Lili is Crying, Hélène Bessette's debut novel, explores the fraughtness and depth of the troubling relationship between Lili and her mother Charlotte. With a near-mythic quality, Bessette's stripped-back prose evokes at once the pain of thwarted love – of desire run cold – and the promise of renewal. Lauded by critics on its initial publication in 1953 for its boundary-pushing style, unusual economy of expression, strange humour and sheer vivacity, Lili is Crying announces Bessette's singular take on the 'poetic novel'. This edition marks the very first translation of Bessette's work into English, by Windham-Campbell Prize-winning author and translator Kate Briggs.
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In What Is Mine, sociologist José Henrique Bortoluci uses interviews with his father, Didi, to retrace the recent history of Brazil and of his family. From the mid-1960s to the mid-2010s, Didi's work as a truck driver took him away from home for long stretches at a time as he crisscrossed the country and participated in huge infrastructure projects including the Trans-Amazonian Highway, a scheme spearheaded by the military dictatorship of the time, undertaken through brutal deforestation. An observer of history, Didi also recounts the toll his work has taken on his health, from a heart attack in middle age to the cancer that defines his retirement. Bortoluci weaves the history of a nation with that of a man, uncovering parallels between cancer and capitalism – both sustained by expansion, both embodiments of 'the gospel of growth at any cost' – and traces the distance that class has placed between him and his father. Influenced by authors such as Annie Ernaux and Svetlana Alexievich, What Is Mine is a moving, thought-provoking and brilliantly constructed examination of the scars we carry, as people and as countries.
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Forma i typ
It's early morning and there's a whole new day ahead. How will it unfold? The baby will feed, hopefully she'll sleep; Helen looks out of the window. The Long Form is the story of two people composing a day together. It is a day of movements and improvisations, common and uncommon rhythms, stopping and starting again. As the morning progresses, a book – The History of Tom Jones by Henry Fielding – gets delivered, and the scope of the day widens further. Matters of care-work share ground with matters of friendship, housing, translation, aesthetics and creativity. Small incidents of the day revive some of the oldest preoccupations of the novel: the force of social circumstance, the power of names, the meaning of duration and the work of love. With lightness and precision, Kate Briggs renews Henry Fielding's proposition for what a novel can be, combining fiction and essay to write an extraordinary domestic novel of far-reaching ideas.
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What makes a good death? A good daughter? In 2009, with her forties and a harsh wave of austerity on the horizon, Marianne Brooker's mother was diagnosed with primary progressive multiple sclerosis. She made a workshop of herself and her surroundings, combining creativity and activism in inventive ways. But over time, her ability to work, to move and to live without pain diminished drastically. Determined to die in her own home, on her own terms, she stopped eating and drinking in 2019. In Intervals, Brooker reckons with heartbreak, weaving her first and final memories with a study of doulas, living wills and the precarious economics of social, hospice and funeral care. Blending memoir, polemic and feminist philosophy, Brooker joins writers such as Anne Boyer, Maggie Nelson, Donald Winnicott and Lola Olufemi to raise essential questions about choice and interdependence and, ultimately, to imagine care otherwise.
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Longlisted for the Booker Prize 2025. On losing her father, Teresa returns to a small town on the Greek coast – the same place she visited when grieving her mother nine years ago. She immerses herself again in the life of the town, observing the inhabitants going about their business, a quiet backdrop for her reckoning with herself. An episode from her first visit resurfaces vividly – her encounter with John, a man struggling to come to terms with the violent death of his nephew. Soon Teresa encounters some of the people she met last time around: Petros, an eccentric mechanic, whose life story may or may not be part of John's; the beautiful Niko, a diving instructor; and Xanthe, a waitress in one of the cafés on the leafy town square. They talk about their longings, regrets, the passing of time, their sense of who they are. Artfully constructed, absorbing and insightful, One Boat is a brilliant novel grappling with questions of identity, free will, guilt and responsibility.
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In 1937, Elias Canetti began collecting notes for the project that 'by definition, he could never live to complete', as translator Peter Filkins writes in his afterword. The Book Against Death is the work of a lifetime: a collection of Canetti's aphorisms, diatribes, musings and commentaries on and against death – published in English for the first time since his death in 1994 – interspersed with material from philosophers and writers including Goethe, Walter Benjamin and Robert Walser. This major work by the 1981 Nobel Prize in Literature laureate is a disarming and often darkly comic reckoning with the inevitability of death and with its politicization, evoking despair at the loss of loved ones and the impossibility of facing one's own death, while fiercely protesting the mass deaths incurred during war and the willingness of the despot to wield death as power. Infused with fervour and vitality, The Book Against Death ultimately forms a moving affirmation of the value of life itself.
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Transcendence for Beginners examines life writing and philosophy across certain European and Indian traditions, exploring questions of childhood and mortality, art and religion, beauty and loss. Informed by her experience as a biographer of Søren Kierkegaard and George Eliot as well as her own life, Clare Carlisle asks what one human existence can reveal, and how writing can transmit its truth. Intellectually stimulating and deeply moving, Transcendence for Beginners enacts a philosophy of the heart, told by a generous and compelling guide. This bold, enlivening work asserts Carlisle's place as one of our most innovative thinkers.
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In his foreword to The Ways of Paradise, Peter Cornell presents this so-called found manuscript, the work of a now-deceased, obscure researcher who spent three decades in the National Library of Sweden working on his magnum opus. Upon his death, no trace of this work remains aside from this set of notes and fragments which form an enigmatic set of texts on the connections between art, literature, spirituality and the occult through history, with a particular focus on spirals and labyrinths. Ranging from the Crusades to Ruskin, Freud to surrealism, cubism, automatic writing, Duchamp, the Manhattan Project, Pollock and Smithson, this cult book, first published in Sweden in 1987, is translated into English for the first time by Saskia Vogel.
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Joy Is My Middle Name documents crawling through your twenties and emerging into your thirties. Walking uneasy cities and rural towns, talking about sex, race, womanhood, addiction, sobriety, consumerism and pop culture, these poems pull at the edges of the performed self with conversational ease. Humble, giddy, bold, empathetic, subversive, hilarious, lithe – the collection feels like a conversation with your greatest friend, over the best dinner. Full of stories, character, awkward silence, relatable sentiment; the buzz of perfect moments are funnelled onto the page.
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Forma i typ
Boldly combining the highly personal with the brilliantly scholarly, In the Dark Room explores the question of how memory works emotionally and culturally. It is narrated through the prism of the author's experience of losing both his parents, his mother when he was sixteen, his father when he was on the cusp of adulthood and of trying, after a breakdown some years later, to piece things together. Drawing on the lessons of centuries of literature, philosophy and visual art, Dillon interprets the relics of his parents and of his childhood in a singularly original and arresting piece of writing reissued for the first time since its original publication in 2005, and including a new foreword from prize-winning biographer Frances Wilson.
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Fleeing a nameless war, a soldier emerges from the Mediterranean scrubland, filthy, exhausted and seeking refuge. A chance meeting forces him to rethink his journey, and the price he puts on a life. On 11 September 2001, aboard a small cruise ship near Berlin, a scientific conference pays tribute to the late Paul Heudeber, an East German mathematician, Buchenwald survivor, communist and anti-fascist whose commitment to his side of the Wall was unshaken by its collapse. The oblique pull between these two narratives – a cipher in itself – brings to light everything that is at stake in times of conflict: truth and deception, loyalty and betrayal, hope and despair. Superbly translated by Charlotte Mandell and told in Mathias Enard's typically mesmerizing, inventive prose, The Deserters lays bare the ravages of war on the most intimate aspects of life – and asks what remains of our selves in its wreckage.
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On 7 April 1986, Annie Ernaux's mother, after years of suffering from Alzheimer's disease, died in a retirement home in the suburbs of Paris. Shocked by this loss which, despite her mother's condition, she had refused to fathom, Ernaux embarks on a daunting journey back through time in an effort to recover the different facets of a woman whose openness to the world and appetite for reading created the conditions for the author's own social ascent. Mirroring A Man's Place, in which she narrates her father's slow rise to material comfort, A Woman's Story explores the ambiguous and unshakeable bond between mother and daughter, its fluctuation over the course of their lives, the alienating worlds that separate them and the inescapable truth that we must lose the ones we love. In this quietly powerful tribute to the last thread connecting her to the world out of which she was born, Ernaux attempts to do her mother the greatest justice she can: to portray her as the individual she was.
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'I will write to avenge my people.' It was as a young woman that Annie Ernaux first wrote these words in her diary, giving a name to her purpose in life as a writer. She returns to them in her stirring defence of literature and of political writing in her Nobel Lecture, delivered in Stockholm on 7 December 2022. To write of her own life, she asserts, is to 'shatter the loneliness of experiences endured and repressed'; to mine individual experience is to find collective emancipation. Ernaux's speech is a bold assertion of the capacity of writing to give people a sense of their own worth, and of one writer's commitment to bearing witness to life, its joys and its injustices.
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Shame / Annie Ernaux. - [miejsce nieznane] : Fitzcarraldo Editions : Legimi, 2023.
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'My father tried to kill my mother one Sunday in June, in the early afternoon.' Thus begins Shame, the probing story of the twelve-year-old girl who will become the author herself, and the traumatic memory that will echo and resonate throughout her life. With the emotionally rich voice of great fiction and the analytical eye of a scientist, Annie Ernaux provides a powerful reflection on experience and the power of violent memory to endure through time, to determine the course of a life.
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One Sunday in Yvetot, August 1950. Annie is playing outside in the sun. Her mother steps out of the grocery to chat with a customer, a few metres from her. The two women's conversation is perfectly audible; its scraps become etched forever in Annie's memory. Before she was born, her parents had another daughter. She died at the age of six from diphtheria. Annie will never hear another word from her parents about this unknown sister, nor will she ask them a single question about her: their family unit has formed in the image of its vanished predecessor. In The Other Girl, brilliantly translated for the first time into English by Alison L. Strayer, Annie Ernaux explores the meaning of this family secret, and the insurmountable distance that separates the two sisters.
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