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The stories of Oğuz Atay do not lag behind his novels in terms of the depth of comprehension of daily life, the richness of expression and the energies of taking the reader away. The protagonist of the story that gave the book its name while “waiting for fear” imprisons itself at home is one of the greatest proofs of Atay’s difference in the literary route.
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| ISBN | 978-9941-9685-4-9 |
Ilia Mikhailovich Zdanevich (Georgian: ილია ზდანევიჩი, Russian: Илья́ Миха́йлович Здане́вич) (April 21, 1894 – December 25, 1975), known as Iliazd (Georgian: ილიაზდ), was a Georgian and French writer and artist, and an active participant in such avant-garde movements as Russian Futurism and Dada.
He was born in Tbilisi to a Polish father, Michał Zdaniewicz, who taught French in a gymnasium and a Georgian mother, Valentina Gamkrelidze, who was a pianist and student of Tchaikovsky. (His older brother Kiril also became a well-known artist.) He studied in the Faculty of Law of Saint Petersburg State University. In 1912 he and his brother, along with their friend Mikhail Le-Dantyu, became enthusiastic about the Tbilisi painter Niko Pirosmanashvili; Ilya’s article about him, “Khudozhnik-samorodok” (“A natural-born artist”), his first publication, appeared in the February 13, 1913, issue of Zakavkazskaia Rech’. Later in 1913 he published a monograph Natalia Goncharova, Mikhail Larionov under the pseudonym Eli Eganbyuri (Russian: Эли Эганбюри). In June 1914 the journal Vostok published his article “Niko Pirosmanashvili,” in which he mythologized the biography of the older artist, linking him with the Silver Age and the Russian avant-garde.[1] He became involved with the new Futurist movement, participating in their discussions and writing about them and Marinetti in the Russian press, and was drawn to other avant-garde movements as well, such as Zaum and dadaism.
In Italy, as in most Western cultures, the 1960s was a dynamic and turbulent decade of social change. Dacia Maraini, in this short story collection, explores the vexing, tragic, and often humorous experiences of women living in modern urban Italy.
With a style as lean as Samuel Beckett’s, and a love of the absurd that rivals Eugene Ionesco, Maraini’s stories are both poignant and wickedly funny. The writer’s ironic lens zooms in to examining sexual relations, working conditions, women’s issues, and family dynamics, illuminating the lives of an entire generation. With classic existential angst, Maraini’s characters are often profoundly dissatisfied with their situations, but also ill-equipped to initiate any real change. This feminist version of the absurd is deliciously wry and terrible. The stories have a real bite.
Originally published as Mio marito in 1968, this is the first English translation of My Husband.
The translation of this work was supported by a grant from the Goethe-Institut.
Klaus Mann – Thomas Mann’s son – wrote MEPHISTO while living in exile from the Germany of World War II. In it he captures the Isherwood-like atmosphere of Nazi Germany while telling a satiric story about the rise to power of one man – a thinly veiled caricature of his own brother-in-law. The man is Hendrik Hofgen, a character actor who in his own life plays a bizarre part in the elite circle of the Third Reich. Hofgen is publicly a revolutionary, but secretly he is a man driven by an obsessive need for power and fame. Although he benefits from the prestige of being married to the daughter of an eminent politician, he endangers his rise in Nazi society by his compulsive involvement with ‘a black Venus.’ His brilliant success as Mephisto in FAUST brings him the support of the Führer’s prime minister, who appoints him head of the State Theater. His dreams are finally realized, but the story ends on a note of despair as Hofgen is forced to confront the emptiness of his life. Mann weaves his tale with amazing skill. The result is a fascinating novel of decadence and evil.
When mysterious crimes occur, all animals from nearby homes, and even those that live on the street, ask help from Detective Gerard, a guinea pig. However, he is an enormous sweet tooth, so he gets to work only on the basis of tasty fees. Together with Gerard you will find out who has eaten a cat’s breakfast, you will run away from hungry predators, you will find out everything about an unknown scarecrow that scares good animals, you will investigate dark crannies and fight with fears. And most importantly, you will learn how to catch intruders using deduction and logic.
We consider ageing as a downwards curve, but this is mainly due to a negative mindset. If we change our view on age and just dare to be who we really are, then age becomes irrelevant. Life will then evolve, instead of going downwards. German author and international consultant who has spent half of her life in foreign cultures all over the world. As an author, she likes to reverse parameters. In her books about ageing, she presents her research on people over 80 who are doing things that one would not expect from that age. She unveils the key-factors for a completely different old age and shows that a creative lifestyle is the entrance door to joyful life and happy ageing. This talk was given at a TEDx event using the TED conference format but independently organized by a local community.
In the modern Russian literature, especially in the children’s literature, few books become a sensation. Not every year it is possible to find a book, which is read and discussed almost by everyone. Olga Gromova’s Sugar Child, first published in 2014, has been reissued several times, and its 2017 reissue differs from the others: it’s a “grown-up” version, it has new cover. The author of the new cover is Ksenia Dereka. Her illustration won the reader’s competition held by KompasGuide and Illustrators.ru site in social networks in June 2017. Sugar Child tells the story of a 5-year-old girl Elya, who was sent with her mother to a camp in Kirgizia as family members of an “enemy of the people”. Settling into a new place is hard, looking back on happy days in Moscow is painful and getting to know strange people is scary. However, this novel, despite its difficult subject, is its own way bright and optimistic: new place will be settled into, a grown-up Elya will see Moscow again and good people can be found anywhere.
book published with the financial support of the Institute of Tranalsation, Moscow, Russia (www.institutperevoda.ru)
At the start of The Translator’s Bride, the Translator’s bride has left him. But if he can only find a way to buy a small house, maybe he can win her back . . . These are the obsessive thoughts that pervade the Translator’s mind as he walks around an unnamed city in 1920, trying to figure out how to put his life back together. His employers aren’t paying him, he’s trying to survive a woman’s unwanted advances, and he’s trying to make the best of his desperate living conditions. All while he struggles with his own mind and angry and psychotic ideas, filled with longing and melancholy. Darkly funny, filled with acidic observations and told with a frenetic pace, The Translator’s Bride is an incredible ride—whether you’re a translator or not!
