In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    Or so he believes.Food begins to go missing. Perturbed by this threat to his orderly life, Shimura sets up a webcam to monitor his home. But though eager to identify his intruder, is Shimura really prepared for what the camera will reveal?Based on real-life events, this prize‐winning novel is a moving tale of alienation in the modern world.

    They span many fiction genres; jungle tale, Gothic horror story, psychological study, and morality tale- and possess a universality that has made him a classic Latin American writer.Horacio Quiroga was a master storyteller and author of over two hundred pieces of Latin American fiction that have been compared to the works of Poe, Kipling, and London. Like his stories, his own life from his birth in Uruguay to his suicide in Argentina was filled with adventure, tragedy, and violence.

    From the moment he purchased his ticket, there was nothing left for him to do but watch men pass him by on the platform. An employee would let him know when the train would depart; but he was still clueless as to its final destination.”Before his death at the age of 27, Jean de La Ville de Mirmont left behind one undisputed classic, self-published a few months before he would meet his fate on the front lines of World War I: an understated, humorous tale of urban alienation that outlines the crushing mediocrity of bureaucratic existence.Jean Dezert is a young man living in a low-ceiling flat on the Rue du Bac, an office worker employed by the ministry who rounds out his regimented life with snippets of Eastern philosophy, strolls through the city, counting streetlamps—and strangely consumerist efforts at injecting some content into his life by structuring his Sundays through a rigorous use of advertising flyers that take him from saunas to vegetarian restaurants to lectures on sexual hygiene. Eventually his urban divagations lead him, as most lives do, to a romantic dalliance: with a young lady at the Jardin des Plantes. In his mortal boredom, his modernist engagement with the banality of the everyday, and his almost heroic resignation to mediocrity, Jean DŽezert emerges as something of a French counterpart to Herman Melville's own rebel bureaucrat, Bartleby the Scrivener. Save that when it comes to being an existential rebel, Jean Dezert goes even further in his will to prefer not to...“Had he lived, what would we have meant to one another? Would he have had a literary destiny? For the twenty-something de La Ville, just as for the forty-year-old Charles PŽeguy, the war was quite simply a relief. Yes, it was the most horrible war the world had ever seen, where millions of young men murdered one another, but they also saw it as their destiny’s final terminus, a means to suddenly give their dead-end, onerous lives some heroic meaning.”—Franois Mauriac“Jean DŽezert is like a brother to me, because of his ability to escape despair by means of emptiness.”—Michel Houellebecq

    Born in Paris in 1947, Redonnet taught for a number of years in a suburban lycée before deciding to pursue a writing career full time. Since her volume of poetry Le Mort & Cie appeared in 1985, she has published four novels, a novella, numerous short stories, and three dramatic works.In translator Jordan Stump's words, these three novels, "unmistakably fit together, although they have neither characters nor setting in common. Redonnet sees the three novels as a triptych: each panel stands alone, and yet all coalesce to form a whole." Each is narrated by a different woman. Hôtel Splendid recounts the daily life of three sisters who live in a decrepit hotel on the edge of a swamp; Forever Valley is about a sixteen-year-old girl who works in a dance-hall and looks for the dead; Rose Mellie Rose is the story of another adolescent girl who assembles a photographic and written record of her life in the dying town of Ôat.Redonnet's novels have been compared to those of Annie Ernaux, Alain Robbe-Grillet, and Samuel Beckett. She has since acknowledged the crucial influence which Beckett's work has had upon her literary work. And yet she is also notably different from the great master of modern literature. "Where Beckett's characters slide almost inevitably toward extinction, resignation, and silence," Stump points out, "Redonnet's display a force for life and creation that borders on the triumphant. . . . [They] retain even in the darkest situations a remarkable persistence, openness, and above all hope, a hope that may well be, however unspectacularly, repaid in the end."

    Written between 1932 and 1940, Blanchot's first novel, here brilliantly translated by Robert Lamberton, contains all the remarkable aspects of his famous and perplexing invention, the ontological narrative--a tale whose subject is the nature of being itself. This paradoxical work discovers being in the absence of being, mystery in the absence of mystery, both to be searched for limitlessly. As Blanchot launches this endless search in his own masterful way, he transforms the possibilities of the novel. First issued in English in 1973 in a limited edition, this re-issue includes an illuminating essay on translation by Lamberton.

    Among the women’s most powerful weapons in their assault is laughter, but they also threaten literary and linguistic customs of the patriarchal order with bullets. In this breathtakingly rapid novel first published in 1969, Wittig animates a lesbian society that invites all women to join their fight, their circle, and their community. A path-breaking novel about creating and sustaining freedom, the book derives much of its energy from its vaunting of the female body as a resource for literary invention."A delectable epic of sex warfare . . . an extraordinary leap of the imagination into the politics of oppression and revolt." --Mary McCarthy

    Vonnegut’s absolute familiarity with science fiction tropes and his mocking contempt for them are well displayed in a story which shifts between tragic cartoon and straightforward projection. His highly evolved humans in an indeterminate future have become body-transcending spirits and Vonnegut handles this vaporous situation with deadpan comedy suspended over unspeakable loss, a characteristic technique. In its fluidity--the story is parody masked as extrapolation; no, it is a horror story in the form of a parody. This kind of cross-category narrative attack was often used by Vonnegut and makes him difficult to label; he is too serious to be funny, too absurd (as in jailbreak or as in the concept of Billy Pilgrim’s alien Tralmalfadorians) to be taken as realism. Vonnegut when he wrote this story at 30 was still trying to find his voice, identify his material; as a laboratory of his enveloping subject matter and technique UNREADY TO WEAR is particularly interesting and disturbing, demonstrating that Vonnegut could have gone in any number of directions and perhaps by deliberately failing to make a decision, found his voice through indeterminacy. It is as a poet of indeterminacy then that Vonnegut went on to write his most famous novel, SLAUGHTERHOUSE-FIVE.ABOUT THE AUTHORKurt Vonnegut (1922-2007) is one of the most beloved American writers of the twentieth century. Vonnegut's audience increased steadily since his first five pieces in the 1950s and grew from there. His 1968 novel Slaughterhouse-Five has become a canonic war novel with Joseph Heller's Catch-22 to form the truest and darkest of what came from World War II.Vonnegut began his career as a science fiction writer, and his early novels--Player Piano and The Sirens of Titan--were categorized as such even as they appealed to an audience far beyond the reach of the category. In the 1960s, Vonnegut became closely associated with the Baby Boomer generation, a writer on that side, so to speak.Now that Vonnegut's work has been studied as a large body of work, it has been more deeply understood and unified. There is a consistency to his satirical insight, humor and anger which makes his work so synergistic. It seems clear that the more of Vonnegut's work you read, the more it resonates and the more you wish to read. Scholars believe that Vonnegut's reputation (like Mark Twain's) will grow steadily through the decades as his work continues to increase in relevance and new connections are formed, new insights made.ABOUT THE SERIESHorace Gold led GALAXY magazine from its first issue dated October 1950 to science fiction’s most admired, widely circulated and influential magazine throughout its initial decade. Its legendary importance came from publication of full length novels, novellas and novelettes. GALAXY published nearly every giant in the science fiction field.The Galaxy Project is a selection of the best of GALAXY with new forewords by some of today’s best science fiction writers. The initial selections in alphabetical order include work by Ray Bradbury, Frederic Brown, Lester del Rey, Robert A. Heinlein, Damon Knight, C. M. Kornbluth, Walter M. Miller, Jr., Frederik Pohl, Robert Scheckley, Robert Silverberg, William Tenn (Phillip Klass) and Kurt Vonnegut with new Forewords by Paul di Filippo, David Drake, John Lutz, Barry Malzberg and Robert Silverberg. The Galaxy Project is committed to publishing new work in the spirit GALAXY magazine and its founding editor Horace Gold.

    Six-year-old Kassandra is given a doll: "I put her to sleep in her box, but first I cut off her legs and arms so she'd fit," she tells us, "Later, I cut her head off too, so she wouldn't be so heavy. Now I love her very much." Kassandra is an unforgettable narrator, a perfect, brutal guide to childhood as we've never seen it, a journey that passes through the looking glass but finds the darkest corners of the real world.This edition brings Kassandra and the Wolf back into print at last, a tour de force and, as Karapanou liked to call it, a scary monster of a book.

    Tolkien and H.P. Lovecraft A pioneer in the realm of imaginative literature, Lord Dunsany has gained a cult following for his influence on modern fantasy literature, including such authors as J.R.R. Tolkien and H. P. Lovecraft. This unique collection of short stories ranges over five decades of work. Liberal selections of earlier tales—including the entire Gods of Pegana as well as such notable works as "Idle Days of the Yann" and "The Fortress Unvanquishable, Save for Sacnoth"—are followed by memorable later tales, including several about the garrulous traveler Joseph Jorkens and the outrageous murder tale "The Two Bottles of Relish." Throughout, the stories are united by Dunsany's cosmic vision, his impeccable and mellifluous prose, and his distinctively Irish sense of whimsy.Here published for the first time by Penguin Classics, this edition is the only annotated version of Dunsany's short stories. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Dogs, birds, horses, automobiles, and the weather are some of the recycled elements in Marcus's first collection—part fiction, part handbook—as familiar objects take on markedly unfamiliar meanings. Gradually, this makeshift world, in its defiance of the laws of physics and language, finds a foundation in its own implausibility, as Marcus produces new feelings and sensations—both comic and disturbing—in the definitive guide to an unpredictable yet exhilarating plane of existence.

    Fans and critics call their world cyberpunk. Here is the definitive "cyberpunk" short fiction collection.Contents:The Gernsback Continuum (1981) by William GibsonSnake-Eyes (1986) by Tom MaddoxRock On (1984) by Pat CadiganTales of Houdini (1981) by Rudy Rucker400 Boys (1983) by Marc LaidlawSolstice (1985) by James Patrick KellyPetra (1982) by Greg BearTill Human Voices Wake Us (1984) by Lewis ShinerFreezone (1985) by John ShirleyStone Lives (1985) by Paul Di FilippoRed Star, Winter Orbit (1983) by William Gibson and Bruce SterlingMozart in Mirrorshades (1984) by Bruce Sterling and Lewis Shiner

    Rarely do they even leave their own rooms, in which all of their needs are met by the Machine. The Machine allows the humans to communicate "ideas" with one another, which is essentially their only activity. It doesn't stop them from leaving their rooms, but they have little desire to do so anyway. They've started to believe the Machine is omnipotent and omniscient, not to be questioned. And when it begins to malfunction, they trust that it knows what it's doing--forgetting they invented it in the first place . . .From the author of A Passage to India, A Room with a View, and other classic novels, and a sixteen-time nominee for the Nobel Prize in Literature, this remarkable science fiction story, which was included in a Science Fiction Hall of Fame anthology, was published in 1909--yet becomes more relevant and thought-provoking with each passing day of the twenty-first century.

    These stories about love and death, truth and lies, myth and reality range across many epochs and settings. Brilliantly combining fact and fiction, epic and miniature, horror and comedy, this was Danilo Kiš final work, published in Serbo-Croatian in 1983.Kiš is one of the great European writers of the post-war period - GuardianCompulsively readable - Daily Telegraph Fantasy chases reality and reality chases fantasy. Pirandello and Borges are not far away. But these names are intended as approximate references. Kiš is a new, original writer - Times Literary Supplement Intense and exotic, his mysteries hint at unspeakable secrets that remain forever beyond the story-teller's grasp - Boyd TonkinDanilo Kiš was born in the then Kingdom of Yugoslavia in 1935. After an unsettled childhood during the Second World War, in which several of his family members were killed, Kiš studied literature at the University of Belgrade where he lived for most of his adult life. He wrote novels, short stories and poetry and went on to receive the prestigious NIN Award for his novel Pešcanik. He died in Paris in 1989.

    Ajax Penumbra seeks a book--the single surviving copy of the Techne Tycheon, a mysterious volume that has brought and lost great fortune for anyone who has owned it. Late one night, after another day of dispiriting dead ends, he stumbles across a 24-hour bookstore, and the possibilities before him expand exponentially.