A SCHOLARLY BOOK REPOSITORY23 start with C start with C
Leyla is a headstrong Brooklyn-born art historian at a prestigious upstate New York college. When she meets feckless young computer technician Pablo at a party, she quickly becomes pregnant with his child. There’s only one problem: she can’t stand him. And one more problem: her student Michael wants Pablo for himself.
Amid this love triangle, the objects of Leyla and Michael’s study take on a life of their own. Trying to learn more about Caravaggio’s masterpiece The Seven Works of Mercy, they pore over the journal and prison writings of maverick 17th-century utopian philosopher Tommaso Campanella, which, as if by enchantment, transport them back four centuries to Naples. And while the past and present miraculously converge, Leyla, Michael, and Tommaso embark on a voyage of self-discovery in search of a new life.
In this fusion of historical, queer, and speculative fiction, Alessandro Giardino combines the intellectual playfulness of Umberto Eco with the psychological finesse of Michael Cunningham.
María Sabina, the renowned Mazatec healer, spends her days in the small town of Huautla de Jiménez selling produce at the market and foraging under the new moon for the sacred mushrooms that grow near her home—her Holy Children, Carne de Dios, or Flesh of God. But her life changes forever when an amateur mycologist from New York, with a cameraman in tow, visits her to experience for himself the mushroom ceremony, or velada, he knows only from whispers in anthropological records. When he publishes an unauthorized article about his experience in LIFE Magazine 1957, the stage is set for an explosive encounter between the burgeoning international counterculture and the woman who became an unwilling icon of the psychedelic revolution.
Homero Aridjis’s novel, vividly translated by Chloe Garcia Roberts, tells the story of the motley crew of bohemians, researchers, and holy fools, both real and imagined, who descend on the town of Huautla de Jiménez searching for inspiration, distraction, and salvation in the sacred mushrooms. These seekers melt in and out of a narrative infiltrated by the slipstream logic of dreams. As John Lennon plays jazz on the patio of the Hotel Grande, Juan Rulfo contemplates horror movies, and Allen Ginsberg recites mantras at Philip Lamantia’s wedding, María Sabina’s life is increasingly thrown into turmoil.
Carne de Dios is a masterful and often humorous blend of history, myth, and poetic imagination, captured in a translation that mirrors the hallucinatory beauty of Aridjis’s original Spanish. Aridjis’s intimate portrayal of María Sabina, informed by his personal connection to her, serves as both a tribute to her enduring legacy and a critical reflection on the wave of global interest in mushroom culture still gaining momentum today.
This English translation includes an introduction by the translator and an afterword by the author.
Nellie Campobello, a prominent Mexican writer and "novelist of the Revolution," played an important role in Mexico's cultural renaissance in the 1920s and early 1930s, along with such writers as Rafael Muñoz and Gregorio López y Fuentes and artists Diego Rivera, Orozco, and others. Her two novellas, Cartucho (first published in 1931) and My Mother's Hands (first published as Las manos de Mamá in 1938), are autobiographical evocations of a childhood spent amidst the violence and turmoil of the Revolution in Mexico. Campobello's memories of the Revolution in the north of Mexico, where Pancho Villa was a popular hero and a personal friend of her family, show not only the stark realism of Cartucho but also the tender lyricism of My Mother's Hands. They are noteworthy, too, as a first-person account of the female experience in the early years of the Mexican Revolution and unique in their presentation of events from a child's perspective.
A fictional return to the unsettling world of Franz Kafka’s iconic unfinished novel, The Castle.
Seth Rogoff's masterful and mesmerizing novel, The Castle, draws inspiration from the enigmatic and incomplete final sentence of Franz Kafka's influential work of the same title. Follow renowned translator Sy Kirschbaum as he finds his way into the deserted landscape of Kafka’s world where the village of Z. lies eerily silent. The inhabitants vanished like phantoms leaving only remnants of their lives.
From these fragments, Kirschbaum pieces together a vision of a world in crisis triggered by the arrival of a stranger named K. To unravel this mystery, not just for the sake of the vanished village of Z. but for the world beyond, Kirschbaum is compelled to venture where K. could not—the deepest core of the castle.
The Castle is built upon lost documents, forgotten stories, and imagined histories. Unbound by the constraints of an authoritarian and doomed reality, Kirschbaum embarks on an extraordinary journey, seeking meaning through the fertile ground of imagination and embracing the inherent paradox of existence.
Hawthorne's 'International Novel' dramatizes the confrontation of the Old World and the New and the uncertain relationship between the 'authentic' and the 'fake' in life as in art. The author's evocative descriptions of classic sites made The Marble Faun a favorite guidebook to Rome for Victorian tourists, but this richly ambiguous symbolic romance is also the story of a murder, and a parable of the Fall of Man. As the characters find their civilized existence disrupted by the awful consequences of impulse, Hawthorne leads his readers to question the value of Art and Culture and addresses the great evolutionary debate which was beginning to shake Victorian society.
A neglected classic about a young French woman in the 1950s risking romance, from the author of Bonjour Tristesse
Françoise Sagan is best known for her first novel, Bonjour Tristesse, which caused a scandal when she first published it at the age of eighteen in 1953. But her second novel, A Certain Smile, less shocking and more psychologically convincing, was preferred by many critics. Like Bonjour Tristesse, this story is set in Paris in the 1950s and told by a young student bored by her law books, restless and curious about love and sex. She is fond of her loyal boyfriend, but he, too, bores her. His worldly uncle strikes her as more exciting, appealingly risky and forbidden. Frank and spontaneous, vulnerable and cruel, thoughtless and insightful, Sagan's young narrator explores such perennial themes as unrequited love and the precarious balance of irrational emotions and self-restraint.
Originally published in 1981 as En breve cárcel,Certificate of Absence is the first novel of the Argentinian scholar-critic Sylvia Molloy. Innovative in its treatment of women's relationships and in its assertion of woman's right to author her own text, the novel has won wide approval in Latin America and the United States.
The novel centers around a woman writing in a small room. As she writes, remembering a past relationship and anticipating a future one, the room becomes a repository for nostalgia, violence, and desire, a space in which writing and remembering become life-sustaining ceremonies. The narrator reflects on the power of love to both shelter and destroy. She meditates on the act of writing, specifically on writing as a woman, in a voice that goes against the grain of established, canonical voices.
Latin American male writers are prone to self-portrayal in their texts. Certifcate of Absence is one of the few novels by Latin American women that successfully use this technique to open new windows on women's experiences.
The circus has fascinated Alexander Kluge ever since he was a child, and his devotion to it has been preserved throughout his cinematic output and his most recent literary work. In the circus, he finds both the shadow image of work and the epitome of human excellence, from love to war to revolution. As surfaces onto which utopias are projected, these elaborate performances offer a tangible representation of developments within civilization, with its nearly infinite possibilities and sometimes inevitable crashes—from the excited roar of the crowd to death on the floor of the ring.
In Circus Commentary, Kluge’s montage of modernities moves back and forth through time and space, expressing his unique mix of fictional and non-fictional reports, histories, and stories through semantic fields, images, and film sequences inserted in the book via QR codes. We encounter a broad panorama of perplexed artists and sophisticated surgeons cavorting alongside fighter pilots, sans-culottes drunk with dreams of omnipotence, and, most importantly, animals—to whose superhuman performances, this book creates a lasting memorial.
Collected Stories is an authoritative new translation of the complete fiction of Bruno Schulz, whose work has influenced writers as various as Salman Rushdie, Cynthia Ozick, Jonathan Safran Foer, Philip Roth, Danilo Kiš, and Roberto Bolaño.
Schulz’s prose is renowned for its originality. Set largely in a fictional counterpart of his hometown of Drohobych, his stories merge the real and the surreal. The most ordinary objects—the wind, an article of clothing, a plate of fish—can suddenly appear unfathomably mysterious and capable of illuminating profound truths. As Father, one of his most intriguing characters, declaims: “Matter has been granted infinite fecundity, an inexhaustible vital force, and at the same time, a seductive power of temptation that entices us to create forms.”
This comprehensive volume brings together all of Schulz's published stories—Cinnamon Shops, his most famous collection (sometimes titled The Street of Crocodiles in English), The Sanatorium under the Hourglass, and an additional four stories that he did not include in either of his collections. Madeline G. Levine’s masterful new translation shows contemporary readers how Schulz, often compared to Proust and Kafka, reveals the workings of memory and consciousness.
The fall of communism in Eastern Europe in 1989 marked, in one famous formulation, the "end of history." In his apocalyptic novel Coming from an Off-Key Time, Bogdan Suceavă satirizes the events in his native Romania since the violent end of the Ceauşescu regime that fateful year.
Suceavă uses three interrelated narratives to illustrate the destructive power of Romanian society’s most powerful mythologies. He depicts madness of all kinds but especially religious beliefs and their perversion by all manner of outrageous sects. Here horror and humor reside impossibly in the same time and place, and readers experience the vertiginous feeling of living in the middle of a violent historical upheaval.
Even as Coming from an Off-Key Time suggests the influence of such writers as Mikhail Bulgakov, the fantastic satirist of the early Soviet Union, Suceavă engages the complexities of a quickly changing country in search of its bearings and suspicious of its past. Bogdan Suceavă is an associate professor of mathematics at California State University, Fullerton. One of Romanian literature’s most promising and original young writers, he is the author of four novels, two books of short stories, and several collections of poems.
Alistair Ian Blyth’s previous translations include Filip Florian, Little Fingers (2009); Lucian Dan Teodorovici, Our Circus Presents (2009); and Catalin Avramescu’s An Intellectual History of Cannibalism (2009).
This biting commentary on the follies of humankind by a noted Mexican author cuts deeply yet leaves readers laughing—at themselves as well as at others. With his surgical intelligence, Juan José Arreola exposes the shams and hypocrisies, the false values and vices, the hidden diseases of society. Confabulario total, 1941–1961, of which this book is a translation, combines three earlier books—Varia invención (1949), Confabulario (1952), Punta de plata (1958)—and numerous later pieces.
Although some of the pieces have a noticeably Mexican orientation, most of them transcend strictly regional themes to interpret the social scene in aspects common to all civilized cultures. Arreola’s view is not limited; much of his sophistication comes from his broad, deep, and varied knowledge of present and past, and from his almost casual use both of this knowledge and of his insight into its meaning for humanity. His familiarity with many little-known arts and sciences, numerous literatures, history, anthropology, and psychology, and his telling allusions to this rich lode of fact, increase the reader’s delight in his learned but witty, scalding but poetic, satire.
Juan is a Bolivian poet at the turn of the century, visiting the city of Cochabamba and writing letters to his friend Armando about the masked sensuality and hostility he feels seething beneath the placid face of this insular mining town. Antonia is a married woman living in Cochabamba, writing to her friend Gracia about the local gossip—which soon erupts into a scandal that threatens to destroy a family. Contrasting Juan’s letters home with Antonia’s private correspondence to her friend, Confidences tells a story of tragic love and explosive passions, showing how the intimacies that begin behind closed doors spill out into the public sphere.
The only novel written by acclaimed feminist poet Adela Zamudio, Confidences was harshly criticized for not following the conventions of realist literature, but it has since been hailed as a lost classic of Bolivian modernism. Now available in English for the first time, this translation captures the lyrical qualities of Zamudio’s prose as it vividly depicts how sexism, religious dogma, and prejudice prevented women from shaping their own destinies.
Besides Africa, Brazil is the largest Afro-descendant country, however, literature produced by Black Brazilians is predominantly unknown in Brazil and abroad. Contemporary Afro-Brazilian Short Fiction emerges from a collaborative translation project, bringing Afro-Brazilian literature to a global audience demanding Afro-diasporic literature, as well as decolonial practices and content. This unique bilingual compilation of twenty-one short stories includes both established and emerging Afro-Brazilian voices, fostering cross-cultural understanding and affirming the legitimacy of Black Portuguese, pretoguês, as a literary language. The editors each provide introductions that contextualize the works, while also engaging in theoretical debates, shedding light on the role of literary translation in language teaching and the impact of the Literary Festival of the Peripheries in forming a new generation of Black Brazilian writers.
A Togolese novel that delivers a rich, intimate portrait of a scholar whose life is inextricably bound to Africa.
For the French ethnologist Maurice Boyer, Africa isn't just a place; it’s a mirage, an enigma, a mirror reflecting his desires and doubts. The fieldwork he undertook in Tèdi, Togo, where he lived for years among the Tem people and tried to understand their customs and rituals, has left him with questions that have lingered: Who was a friend and who was a foe? Which stories were true and which were illusions? As decades pass and the roles of Aurélie, his wife, and Safi, his former student, begin to shift, Boyer finds himself wrestling not only with his own choices but with the legacy of knowledge itself.
Through the lens of this profound postcolonial quest, Sami Tchak explores Africa’s rich, complex reality through this intimate story of a scholar reconsidering his own understanding of culture, ethnology, and history. The Continent of Everything and Practically Nothing asks whether assembling more data can truly capture the complexity of a continent, and explores how academic ambition, history, and emotion shape how we understand the world, and how we live in it.
Mariano Siskind’s groundbreaking debut book redefines the scope of world literature, particularly regarding the place of Latin America in its imaginaries and mappings. In Siskind’s formulation, world literature is a modernizing discursive strategy, a way in which cultures negotiate their aspirations to participate in global networks of cultural exchange, and an original tool to reorganize literary history. Working with novels, poems, essays, travel narratives, and historical documents, Siskind reads the way Latin American literary modernity was produced as a global relation, from the rise of planetary novels in the 1870s and the cosmopolitan imaginaries of modernism at the turn of the twentieth century, to the global spread of magical realism. With its unusual breadth of reference and firm but unobtrusive grounding in philosophy, literary theory, and psychoanalysis, Cosmopolitan Desires will have a major impact in the fields of Latin American studies and comparative literature.
Cruel Destiny (1929) tells the tragic love story of Armand and Adeline, drawn together by a magnetic attraction, yet kept apart by a dark family secret. Depicting the heavy expectations placed upon women in Haiti’s elite society, it also explores the troubled and twisted relationships between the Haitians and their former colonial masters, the French.
In The White Negress (1934), a Frenchwoman moves to Haiti and is torn between two very different men, a Black Haitian lawyer, and a white American carpetbagger. Putting a fresh spin on the tired tragic mulatta trope, Valcin reveals the racial prejudices, class tensions, and anti-colonial resentments of an island under American occupation.
Together, these two novels expand our understanding of Caribbean literature, as well as the political struggles and artistic triumphs of Black women in the Americas.
This richly orchestrated novel, which won a national literary prize in the author's native land, Venezuela, also earned international recognition when the William Faulkner Foundation gave it an award as the most notable novel published in Ibero America between 1945 and 1962.
Cumboto's disturbing story unfolds during the early decades of the twentieth century on a Venezuelan coconut plantation, in a turbulent Faulknerian double world of black and white. It records the lives of Don Federico, the effete survivor of a once vigorous family of landowners, and his Black servant Natividad, who since the days of their mutual childhood has been his only friend.
Young Federico, psychologically impotent and lost to human contact, lives on as a lonely recluse in the century-old main house of "Cumboto," surrounded by descendants of African slaves who still manage, despite his apathy, to keep the plantation on its feet. Natividad's heroic and selfless struggle to redeem his friend by awakening him to the stirrings of the earth and life about him sets in motion a series of events that are to shatter Federico's childlike world: a headlong love affair with a voluptuous black girl, her terrified flight in the face of the bitter condemnation of her own people, and the unexpected appearance, twenty years later, of their extraordinary son.
Throughout the novel runs a recurring theme: neither race can survive without the other. Black and white, Díaz Sánchez suggests, embody contrasting aspects of human nature, which are not inimical but complementary: the languid intellectualism of European culture must be tempered with the indestructible vitality and intuition of the African soul if humanity is ever fully to comprehend the living essence of the world.
Susan Muaddi Darraj's short story collection about the inhabitants of a Palestinian West Bank village, Tel al-Hilou, spans generations and continents to explore ideas of memory, belonging, connection, and, ultimately, the deepest and richest meaning of home. A Curious Land gives voice to the experiences of Palestinians in the last century.
An excerpt from A Curious Land:
When Rabab lowered the magad and clapped-clapped to the well in her mother's too-big slippers, the stone jar digging into her shoulder, she didn't, at first, see the body. The morning sun glazed everything around her—the cement homes, the iron rails along one wall, the bars on the windows, the stones around the well—and made her squint her itchy eyes.
She was hungry. That was all.
They'd arrived here only last night, stopping as soon as Awwad and the men were sure the army had moved south. It must have been the third time in just a few weeks—collapse the tents, load the mules, disappear into the sands. She hoped this war would end soon, and she didn't really care who won, as long as it ended because they hadn't eaten well in two years. In the past few months, her mother had sold all her gold, except for her bracelet made of liras. It was the only thing left, and she was holding onto it, and Rabab realized, so were they all; she imagined that, the day it was sold, when her mother's wrist was bare, would signal that they were at the end.
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