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In these marvellously written tales, Sindbad, a voyager in the realms of memory and imagination, travels through the centuries in pursuit of an ideal of love that is directed as much at the feminine essence as at his individual lovers. He is by nature a melancholy sensualist, but whether the women he seduces and loves are projections of his desire, or he of theirs, is a moot question.
These short stories flow without a strict narrative framework Sindbad journeys between the past and the present and is merely a ghost in many of his adventures. Although Sindbad can move through time, it is time that proves his chief enemy, and youth that remains his real love. This deeply autumnal book, full of resonances and associations, is an erotic elegy to the dying Habsburg Empire.
The stories are taken from the omnibus triple-volume Hungarian edition published as The Three Books of Sindbad in Hungary in 1944, which includes The Travels of Sindbad (1912), The Resurrection of Sindbad (1916), and The Youth and Grief of Sindbad (1917).

A haunting, resonant novel of passion and betrayal—in its first English translation since 1928

“When we bring true passions into our works, we don’t fear the cries of the offended.” So declared Jules Barbey d’Aurevilly in 1853 as he prepared to publish The Bewitched in book form, restoring the sections that were unceremoniously deleted from its serialized release by an editor who deemed them too explicit, irreverent, and inflammatory. Newly translated into English for modern readers, The Bewitched is a beguiling tale of politics, obsession, and horror set against the backdrop of Normandy in postrevolutionary France.

Late at night in a foggy moor, the far clock tower rends the still air to mark the midnight hour. As the darkness settles back into silence, another bell rings out, slow and somber, calling all who hear it to the abbé de La Croix-Jugan’s Mass of the Dead. Returned to the priesthood in shame after breaking his vows by shedding blood in battle and attempting suicide in defeat, the disfigured man enthralls the inhabitants of this small village. Before long, a young married woman becomes infatuated with the enigmatic priest, and their fates are irrevocably intertwined. When she succumbs to despair over her unrequited love, her husband is consumed by jealousy and vows revenge.

Layering stories within stories and continually shifting points of view, Barbey d’Aurevilly engages a mosaic of narrators to depict the era’s tensions between the aristocracy, the peasant class, and the church. Raymond N. MacKenzie’s lively translation is accompanied by his detailed introduction and notes that ground the novel in its historical, political, and literary contexts. A classic of French Gothic literature, The Bewitched blends religious transgression, satanic possession, and political upheaval into a fatal love story that is as gripping now as it was nearly two centuries ago.

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This farcical tale tells how the British bombing of a Finnish port city changes the life of the Russian governor, his wife, their cook, and the cook's Finnish fiancé. The story takes place during a Nordic offshoot of the Crimean conflict, known as the Åland War, in which a British-French naval force attacked military and civilian facilities on the coast of the Grand Duchy of Finland in 1854–1856. The location of the novella is Åbo, today’s Turku, where soldiers in the Russian garrison enjoy life, Cossacks dance and drink, and the governor’s wife is preoccupied about her cook’s marriage to a local lad, against which the governor and the English admiral devise a plot.

After studies in Swiss and German universities, Carl Spitteler worked in Russia between 1871 and 1879 as the private tutor in the family of a Finnish general. In the process he came to know Finnish and Baltic noble families in Saint Petersburg and Finland. He published this story in 1889, and went on to become, in 1919, the first Swiss winner of the Nobel Prize for literature. The Bombardment of Åbo is an ironic Western gaze on life and culture in the Tsarist Empire. Spitteler’s deeply held pacifism breaks through his otherwise sarcastic description of the characters and episodes in the novella.

Winner of the Humanities in Translation Prize

The Book of Mating is a masterfully translated collection of stories in which Indonesian women explore the full spectrum of mating: marital, sexual, and spiritual; forced and free; transcendent, ruinous, and mundane. Laksmi Pamuntjak portrays both the constraints and opportunities facing women caught between the enduring restrictions of local norms and hierarchies and the tantalizing promises of globalized modern life, between internalized myths and social realities.

An experimental melding of Pamuntjak’s creative, journalistic, and activist work, these stories read as urgent dispatches from the Indonesian archipelago and diaspora—and as universal narratives of women’s lived experiences. Annie Tucker’s nuanced translation takes us from the prison island of Buru and the Bogor Botanical Gardens to Paris’s Left Bank, offering a polyphonic testament to the universal fight for women’s autonomy over their bodies and their lives.

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.
 

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.

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.

Ladislav Grosman's powerful story of a twelve-year-old Jewish boy in wartime Slovakia smuggled into Hungary to escape deportation. 

In The Devil's Own Luck, readers experience the horrors of war and the Holocaust through the lens of the young boy's obsessive reading of pulp fiction, imposing a layer of adventure on the bleak landscape of his experience. This simultaneously tragic, humorous, and poetic novel by Ladislav Grosman was published posthumously.

New stories by Leila Abouzeid, the noted Moroccan writer, constitute an event for both East and West, for, as in her critically acclaimed novel, Year of the Elephant, the author cuts across cultural and national boundaries to offer fiction that has meaning for both Western and Middle Eastern readers. The stories in this volume deal with issues both traditional and modern-relations between parents and children, between husbands and wives, and between citizens of newly independent Morocco and its new nationalist representative government.

Independence from French colonial rule has brought many changes to Morocco—some more beneficial than others. Women have entered the work force in great numbers, a development which has brought them new freedoms, but which has also caused problems within the traditional family. Abouzeid shows us how these changes have affected ordinary men and women, how small everyday events loom large in individual lives. To her crisp style, reminiscent of some Western realist novelists, she adds elements of Arabic fiction—the oral story-telling technique, for example.

Abouzeid writes first in Arabic, which she has stated is a political choice. This makes her a literary pioneer in North Africa, where, until recently, most authors wrote in French. Elizabeth Warnock Fernea has written an introduction for this book, setting the stories in historical context.

The city of Warsaw, under Russian rule in the late 1870s, is the setting for this story. The middle-aged hero, Wokulski, bold and successful in business, is being destroyed by his obsessive love for the frigid, aristocratic society ‘doll’ Izabela. The embattled aristocracy, the new men of finance, Dickensian tradesmen and the urban poor all come vividly to life on the vast, superbly detailed canvas.

This tale of a repressive priest and his small Mexican village during the eighteen months preceding the Revolution of 1910 is a great novel, one that exposes the struggle between human desire and paralyzing fear—fear of humanity, fear of nature, fear of the wrath of God. Agustín Yáñez probes the actions of people caught in life’s currents, enthralling his readers with mounting dramatic tension as he shows that no power can forge saints from the human masses, that any attempt to do so, in fact, often has exactly the opposite result.

Yáñez brings to his work a deep understanding of people—his people—and he illuminates a great truth—that no one, anywhere, seems very strange when we understand the environment that has produced him or her.

The haunting, multigenerational saga of a family of Sámi women fighting the devastation of their way of life

Nothing is true, and everything is true; poetry will never hurt more than what has happened. Every summer, Iŋgá, her mother Rávdná, and her Aunt Ánne travel west to their village on the lake. But the summer Iŋgá is thirteen, they arrive to find their home and possessions have disappeared under water, the land flooded by a dam built to supply hydropower to a society that has continually stolen from them.

The Home of the Drowned follows these women’s fortunes over forty years—from 1942 to 1982—as the water their people have lived near for centuries is transformed into a menacing force that threatens all they hold dear. Defying the authorities, Rávdná decides to build a proper house on the lake to replace what was lost, becoming an unlikely activist even as her actions isolate her family from the rest of the community. Meanwhile, Ánne’s health is in decline, and a concerned Iŋgá merely longs to live like everyone else—an impossible wish when the Swedish state is relentlessly drowning her world.

Drawing on her own family’s history of forced relocation and violent colonial dispossession, Elin Anna Labba’s debut novel brings Sámi history to the fore through this intimate story. In poetic prose deftly translated by Elizabeth Clark Wessel, she reveals connections between land, water, and people that hauntingly reverberate with the question: what is it that makes a home?

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Like waves ebbing and flowing, love surges and subsides among four friends who share a vacation at the house on the beach. As they navigate the seas of love and friendship, jealousy and unfaithfulness, Elena, Marta, Eduardo, and Rafael are swept up in the opposing currents that flow between security and personal freedom, marriage and sexual liberation, family and work, provincial and city life, and traditional and unconventional gender roles.

This deceptively simple novel, published in Mexico in 1966 as La casa en la playa and here translated into English for the first time, is an important work by one of Mexico's, and indeed Latin America's, major writers of the twentieth century. Juan García Ponce helped Mexican arts and letters break out of the ossified styles and themes of the post-Revolutionary "Mexican School" with works that explore the conflict between individual desire and the demands of family and work. Written at a turning point in his career, The House on the Beach foreshadows his embrace of the erotic encounter as a means of undermining rigid, socially constructed personal identity. It supports feminist views and probes deeply into the contradictions, backwardness, and progress of modern Mexican society.

A beguiling, perspective-shifting story of obsession and loss set in the grimy, late-colonial decadence of Macau at the end of the twentieth century
 

In The Inner Harbour, Antoine Volodine focuses his literary investigations away from dystopian futures to a specific place at a particular historical moment: Macau on the eve of the Portuguese colony’s transfer to China. In a seedy flat in one of the city’s slums, a hired assassin named Kotter interrogates Breughel, a writer on the run from a mysterious organization code-named Paradise. Breughel has been hiding out in Macau with his lover, Gloria Vancouver, and a significant sum of the organization’s money. But Gloria is dead and the money spent—or so Breughel claims—and now he lives alone in humid squalor.

With increasing severity, Kotter extracts Breughel’s confessions, but are they truth or subterfuge? Or are the confessions an elaborate work of fiction by a writer aware that they are no longer able to differentiate between memory and fantasy? Volodine brilliantly blurs the levels of narration—between what Breughel tells his interrogator, what he remembers or invents, and the stories he has written, including his accounts of Gloria’s hallucinatory visions of an apocalyptic war between military forces and the “chrysalids.”

Interweaving threads of fiction and truth, lies and hallucinations, The Inner Harbour evokes many of the themes found in Volodine’s other “post-exotic” works: the slippage between dreams and reality, the nightmares of history, the exhaustion of literature and politics, and questions about what it means to be faithful to people or ideas long since vanished. But Volodine also uses the setting of Macau’s late-colonial decadence to explore new sensations of foreignness, alienation, and resignation, all of which coalesce into a nesting doll of narrative that houses an unconventional and tragic love story.

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Read the legendary Chinese classic that inspired the hit game Black Myth: Wukong!

Read the legendary Chinese classic that inspired the hit game Black Myth: Wukong!

Read the legendary Chinese classic that inspired the hit game Black Myth: Wukong!

Read the legendary Chinese classic that inspired the hit game Black Myth: Wukong!

The Juggler (La Jongleuse) is a "decadent" novel that was first published in 1900. Its author, Marguerite Vallette-Eymery (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time.

The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist.

Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.