Lady Chatterley left hers for the gamekeeper. Now Alice Coombs has her boyfriend for nothing … nothing at all.  Just how that should have come to pass and what Philip Engstrand, Alice’s spurned boyfriend, can do about it is the premise for this vertiginous speculative romance by the acclaimed author of Gun, with Occasional Music.Alice Coombs is a particle physicist, and she and her colleagues have created a void, a hole in the universe, that they have taken to calling Lack. But Lack is a nullity with taste — tastes; it absorbs a pomegranate, light bulbs, an argyle sock; it disdains a bow tie, an ice ax, and a scrambled duck egg. To Alice, this selectivity translates as an irresistible personality. To Philip, it makes Lack an unbeatable rival, for how can he win Alice back from something that has no flaws — because it has no qualities? Ingenious, hilarious, and genuinely mind-expanding, As She Climbed Across the Table is the best boy-meets-girl-meets-void story ever written.

    A young boy and his adopted aunt become separated when the youngster is kidnapped by his wealthy, eccentric great-uncle, but mysterious ties continue to link the two unknowingly over the fifteen-year separation.

    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.

    Petersburg by the sudden death of his stepson, Pavel. Half crazed with grief, stricken by epileptic seizures, and erotically obsessed with his stepson's landlady, Dostoevsky is nevertheless intent on unraveling the enigma of Pavel's life. Was the boy a suicide or a murder victim? Did he love his stepfather or despise him? Was he a disciple of the revolutionary Nechaev, who even now is somewhere in St. Petersburg pursuing a dream of apocalyptic violence? As he follows his stepson's ghost—and becomes enmeshed in the same demonic conspiracies that claimed the boy—Dostoevsky emerges as a figure of unfathomable contradictions: naive and calculating, compassionate and cruel, pious and unspeakably perverse.

    His epigrammatic and, above all, discomforting monologue gradually saps, then undermines, the reader's own complacency.

    The late Gavelis's first translation into English centers on Vytautas Vargalys, a semijustifiably paranoid labor camp survivor who works at a library no one visits while he desperately investigates the Them or They responsible for dehumanizing and killing the humans around him, including his wife, Irena; his genius friend, Gedis; and the young siren, Lolita. Meanwhile, failed intellectual Martynas chronicles Vargalys's struggle and the city's mysterious energy in his mlog, library worker Stefanija Monkeviciute dwells on her wavering faith and personal humiliations, and the city itself speaks in the voice of a dog, claiming that Vilnius can't distinguish dreams from reality. Wrought—and fraught—with symbolism and ennui, the oppressive internal monologues of the characters and the city show the intense importance and equal absurdity of life.

    An opium-infused apocalyptic vision from the legendary author of Naked Lunch is the first of the trilogy with The Places of the Dead Roads and his final novel, The Western Plains.

    Considered a birth defect, her wings were surgically removed, leaving only the ghost of them behind.At fifteen years old, confused and unmoored, Prudence meets her long-estranged Lithuanian grandfather and discovers a miraculous lineage beating and pulsing with past Lithuanian bird-women, storytellers with wings dragging the dirt, survivors perched on radio towers, lovers lit up like fireworks, and heroes disguised as everyday men and women. Prudence sets forth on a quest to discover her ancestors, to grapple with wings that only one other person can see, and ultimately, to find out where she belongs.Above Us Only Sky spans the 1863 January Uprising against Russian Tsarist rule in Eastern Europe to the fall of the Berlin Wall, and Lithuania gaining its independence in 1991. It is a story of mutual understanding between the old and young; it is a love story; a story of survival, and most importantly a story about where we belong in the world. This “is a raw, beautiful, unforgettable book” (Lydia Netzer, bestselling author of Shine, Shine, Shine).

    If Helping Verbs of the Heart was an homage to his mother, then this is a memorial to his father. It is actually two works in one. Book 1, "Numbered Sentences from the Life of the Esterházy Family", comprises 371 paragraphs, some elusively succinct, others pages long, that amount to a gloriously kaleidoscopic romp through the centuries that lie behind this European dynasty. Not that the name Esterházy is ever uttered: the main protagonist of each episode is invariably identified as "my father", whether he is an anti-Habsburg Kuruc insurrectionist or a Habsburg-loyal Labanc, a hammer of the Ottomans, a dying old man, a prisoner of war, a lord charming enough to enchant Goethe himself, or a childless man, to mention but a few of "my fathers", all evoked through the language and literature proper to each persona. This strategy of anonymity allows Esterházy to extend his typically vast net of quotations to sources that originally have no family connotations whatsoever, thereby lending broader significance to the particulars of this one family, however grand, and, vice versa, appropriating the general (European) experience to the family's specific circumstances. The baroquely exuberant proliferation of anecdotal gleanings and fragments of real and fictional history, drawing on a gamut of written genres, from maxims to parables, from confessional autobiography to the account books and chronicles, is ultimately threaded together by an unobtrusive, profoundly witty and wise philosophical vein.Book 2, subtitled "Confessions of an Esterházy family", is ostensibly a more conventional family novel. Its very subtitle alludes to an earlier Hungarian masterpiece of the genre, Confessions of a Bourgeois, 1934-35 by Sándor Márai. It consists of a series of snapshots of key events in the lives of the author's great-grandfather, grandfather, father and the young Esterházy himself. These are built up, over two hundred numbered passages, into a more or less chronological portrait of a century-and-a-half of steady decline of the family's fortunes. After 1945 the Esterházys suffered an almost catastrophic repeat of the confiscations and curtailment of liberties that befell them during the short-lived Commune of 1919 one that not only stripped them of their former rank and privileges but threatened their very subsistence. Largely anecdotal and often absurd in tone, much of this is recounted with great gusto from the author's personal perspective, not least the stories of his own childhood, such as being accidentally dropped into the baptismal font; the trek to a godforsaken village in July 1950 when an official deportation order resulted in the family being dumped in one of two rooms in a peasant couple's house; schooldays and trips to matches with his football-mad father. For all the vicissitudes and uncertainties it describes, the tone of his writing throughout is one of blithely upbeat humour and harmony, without a hint of reproach, regret or complaint."A captivatingly rich novel in terms of both its form and its stance. Certainly it is the most striking work of the fifty-year-old author's career to date, and I would evenventure to call it an epitome of the Esterházy oeuvre. Given its formal richness, however, it is in a way also a compendium of two to three centuries of Hungarianprose." -Péter Dérczy, Élet és Irodalom"This new novel is no less constructed of fragments than his earlier novels, and those are no less whole, but this has the widest span of any Esterházy composition to date: it is a sweeping, baroque work." -József Tamás Reményi, Népszabadság

    It’s pretty cozy.” Herra Björnsson is at the beginning of the end of her life. Oh, she has two weeks left, maybe three—she has booked her cremation appointment, at a crispy 1,000 degrees, so it won’t be long. But until then she has her cigarettes, a World War II–era weapon, some Facebook friends, and her memories to sustain her. And what a life this remarkable eighty-year-old narrator has led. In the internationally bestselling and award-winning Woman at 1,000 Degrees, which has been published in fourteen languages, noted Icelandic novelist Hallgrímur Helgason has created a true literary original. From Herra’s childhood in the remote islands of Iceland, where she was born the granddaughter of Iceland’s first president, to teen years spent living by her wits alone in war-torn Europe while her father fought on the side of the Nazis, to love affairs on several continents, Herra Björnsson moved Zelig-like through the major events and locales of the twentieth century. She wed and lost husbands, had children, fled a war, kissed a Beatle, weathered the Icelandic financial crash, and mastered the Internet. She has experienced luck and betrayal and upheaval and pain, and—with a bawdy, uncompromising spirit—she has survived it all. Now, as she awaits death in a garage in Reykjavík, she shows us a woman unbowed by the forces of history. Each part of Herra’s story is a poignant piece of a puzzle that comes together in the final pages of this remarkable, unpredictable, and enthralling novel.

    Victor Pelevin has established a reputation as one of the most brilliant writers at work today; his comic inventiveness has won him comparisons to Kafka, Calvino, and Gogol, and Time has described him as a apsychedelic Nabokov for the cyberage.a Pelevinas new novel, his first in six years, is both a supernatural love story and a satirical portrait of modern Russia. It concerns the adventures of a hardworking fifteen-year-old Moscow prostitute named A. Huli, who in reality is a two thousand-year-old were-fox who seduces men in order to absorb their life force; she does this by means of her tail, a hypnotic organ that puts men into a trance in which they dream they are having sex with her. A. Huli eventually comes to the attention of and falls in love with a high-ranking Russian intelligence officer named Alexander, who is also a werewolf (unbeknownst to our heroine). And that is only the beginning of the fun. A huge success in Russia, this is a stunning and ingenious work of the imagination, arguably Pelevinas sharpest and most engrossing novel to date.

    As the defiant but sensitive young genius is creating his theory of relativity, a new conception of time, he imagines many possible worlds. In one, time is circular, so that people are fated to repeat triumphs and failures over and over. In another, there is a place where time stands still, visited by lovers and parents clinging to their children. In another, time is a nightingale, sometimes trapped by a bell jar.Now translated into thirty languages, Einstein’s Dreams has inspired playwrights, dancers, musicians, and painters all over the world. In poetic vignettes, it explores the connections between science and art, the process of creativity, and ultimately the fragility of human existence.

    Translated from the French by Eric Sutton.

    With compassion, wit, and what appears to be candor she seeks to determine what she actually knows about herself and her past, but we begin to suspect, along with her, that given the elusiveness of memory and understanding, any tale retrieved from the past must be fiction.

    Obsessed with their own habitat and history, they hire artisans, writers and historians to record in minute detail every aspect of their lives, and the nature of their land. A young film-maker arrives on the plains, hoping to make his own contribution to the elaboration of this history. In a private library he begins to take notes for a film, and chooses the daughter of his patron for a leading role.Twenty years later, he begins to tell his haunting story of life on the plains. As his story unfolds, the novel becomes, in the words of Murray Bail, 'a mirage of landscape, memory, love and literature itself'.