“The Familiar” series weaves a series of interrelated narratives together. It combines different genres and styles, ranging from hard-boiled Los Angeles noir to stream-of-consciousness psychological introspection. It is referential and self-referential with typographic experimentation and excesses. At times the traditional arrangement of paragraphs shatter, explode, or blur. In other instances the words form pictures, the boundaries between word and image disappearing altogether.
In John Ashbery’s final book of poetry “Images coagulate and dissolve in a kaleidoscope of language.”
“Vampire in Love” represents another innovative voice in Spanish language literature. With this collection, Vila-Matas can join the likes of Roberto Bolaño, Severo Sarduy, and Carlos Fuentes.
“[Lewinter’s] unique literary voice . . . is that of an obsessive, a philosopher, and a miniaturist.”
“Buck Studies” is “a potent cocktail of political anger and radical formal experimentation.”
“The past and the future are her playground, and she relays an open invitation to all who seek a daring museum experience.”
Ms. Müller won the Nobel Prize in Literature in 2009. The Swedish Academy awarded it because her writing is imbued “with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed.” Despite the spies, surveillance, and tyranny, the Romania she presents appears like a fairy tale.
“Ezra Pound: Poet: Volume III: The Tragic Years 1939–1972,” by A. David Moody chronicles Pound’s life from his Italian residency prior to the outbreak of World War II to his death.
Michèle Audin’s debut novel “One Hundred Twenty-One Days” is a story about mathematics and love.
Life in the Folds by Henri Michaux is “a masterpiece of concision and pain. . . . a literary achievement . . .”