At the beginning of Peter Handke's novel, Gregor Keuschnig awakens from a nightmare in which he has committed murder, and announces, "From today on, I shall be leading a double life." The duplicity, however, lies only in Keuschnig's mind; his everyday life as the press atache for the Austrian Embassy in Paris continues much as before: routine paperwork, walks in the city, futile intimacies with his family and his mistress. But Keuschnig is oblivious to it all, merely simulating his previous identity while he searches for a higher significance, a mystical moment of true sensation which can free him from what the novel calls life's "dreadful normalcy." Convinced that, if he fails, life's meaning will be revealed to him only when it is too late, he looks for portents everywhere. Keuschnig's search takes him through all of Paris. At every step, his feelings are interwoven with acute observation of its streets, buildings, cafes, parks, sky. It is an intimate and evocative journey, in a city that is at once supportive and familiar, strange and provocative.

«Mon Agent» Андрея М. Мелехова — третий роман об Аналитике.Как и предыдущие книги серии — «Malaria» и «Analyste» — «Mon Agent» представляет из себя необычную комбинацию приключенческого романа и мистического триллера. Он предлагает читателю не только получить удовольствие от весьма неожиданных поворотов нескольких сюжетных линий, но и задуматься над широким кругом философских, религиозных и мировоззренческих проблем, волнующих современного человека.Действие романа происходит в Лондоне и Москве, в Раю и в Преисподней. Его персонажами являются террористы и агенты спецслужб, герои Библии и герои тайных операций, великие пророки прошлого и политики настоящего, ангелы Божьи и слуги Сатаны, люди и говорящие животные. В произведении нашлось место большой любви и большой ненависти, острой политической сатире и тонкому юмору. Как и все книги Мелехова, «Mon Agent» написан для тех, кто способен подвергнуть сомнению догмы, стереотипы и предубеждения, кто может рассмеяться, говоря даже о весьма серьёзных вещах.

Best Translated Book Award LonglistReader’s DigestGreat New BookWorld Literature TodayHoliday Gift Guide Recommendation“Offer[s] surprise and revelation at every turn.” —Reader’s Digest“Eduardo Halfon is a brilliant storyteller.” —DANIEL ALARCÓN, author of At Night We Walk in CirclesIn Monastery, the nomadic narrator of Eduardo Halfon’s critically-acclaimed The Polish Boxer returns to travel from Guatemalan cities, villages, coffee plantations, and border towns to a private jazz concert in New York’s Harlem, a former German U-Boat base on the French Breton coast, and Israel, where he escapes from his sister’s Orthodox Jewish wedding into an erotic adventure with the enigmatic Tamara. His passing encounters are unforgettable; his relationships, problematic. At once a world citizen and a writer who mistrusts the power of language, he is pursued by history’s ghosts and unanswerable questions. He is a cartographer of identity on a compelling journey to an uncertain destination. As he draws and redraws his boundaries, he confronts us with the limitations of our own.Eduardo Halfon was named one of the best young Latin American writers by the Hay Festival of Bogotá and is the recipient of a Guggenheim Fellowship and the prestigious José María de Pereda Prize for the Short Novel. The Polish Boxer, his first book to appear in English, was a New York Times Editors’ Choice selection and finalist for the International Latino Book Award. Halfon currently lives in Nebraska and frequently travels to Guatemala.

Les contes de Le Clézio, qui semblent nés du rêve et du recueillement, nous parlent pourtant de notre époque.Venu d'ailleurs, Mondo le petit garçon qui passe, Lullaby la voyageuse, Jon, Juba le sage, Daniel Sindbad qui n'a jamais vu la mer, Alia, Petite Croix, et tant d'autres, nous sont délégués comme autant d'enfants-fées. Ils nous guident. Ils nous forcent à traverser les tristes opacités d'un univers où l'espoir se meurt. Ils nous fascinent par leur volonté tranquille, souveraine, accordée au silence des éléments retrouvés. Ils nous restituent la cadence limpide du souffle, clé de notre âme.

Love and betrayal complicate a robbery gone wrong in this edgy true-crime novel based on a 1965 Argentine bank robbery. There's the drama of the botched raid itself, followed by a blowout afterparty, an attempted double-crossing of the corrupt local authorities, and a final shootout where, as a last act of rebellion, the robbers burn all the loot. This gritty tale has been adapted for a major motion picture by renowned Argentine director Marcelo Pinyero.

MB is for Masters in BusinessWhich is what Kimmy, Russ, Jamie, and Layla are supposed to be studying for at the University of Connecticut. Jamie at least has serious academic intent. Well, until the first day of preterm when he develops a not-so-secret crush.MB is for Marriage BaitLayla's goal is perfection: perfect marks, perfect six-figure salary, perfect (I.e. rich, gorgeous, sexy) New York banker husband…candidate already identified as Bradley Green. The trouble is, seducing him could get her expelled.MB is for Multiple Bed-hoppingDefinitely Kimmy's favorite homework-starting with Jamie but moving swiftly on to Russ, until she discovers the small matter of his girlfriend back home. Hopefully Business Studies includes a minor in boyfriend embezzlement-a skill Kimmy will need if she's to keep hold of Russ.MB is for Misbehaving BoyfriendRuss didn't intend to be unfaithful-to either girlfriend! He never thought he'd find one woman who wanted him, let alone two. But since he can't even pick a major, how can he choose one true soul mate?

Paris, 1938. The Peruvian poet César Vallejo is in the hospital, afflicted with an undiagnosed illness, and unable to stop hiccuping. His wife calls on an acquaintance of her friend Madame Reynaud: the Mesmerist Pierre Pain. Pain, a timid bachelor, is in love with the widow Reynaud, and agrees to help. But two mysterious Spanish men follow Pain and bribe him not to treat Vallejo, and Pain takes the money. Ravaged by guilt and anxiety, however, he does not intend to abandon his new patient, but then Pain’s access to the hospital is barred and Madame Reynaud leaves Paris…. Another practioner of the occult sciences enters the story (working for Franco, using his Mesmeric expertise to interrogate prisoners) — as do Mme. Curie, tarot cards, an assassination, and nightmares. Meanwhile, Monsieur Pain, haunted and guilty, wanders the crepuscular, rainy streets of Paris…

Заманчиво быть членом команды олигарха, чувствовать за своей спиной мощь гигантской машины, способной не только делать огромные деньги, но и возносить на вершину власти. А быть может лучше руководить собственной небольшой компанией, быть хозяином самому себе?Перед героем книги известного писателя и бизнесмена Азария Лапидуса встает непростой выбор: стать частью целого или остаться непокоренной вершиной, сохранить себя…

The narrator of Montano’s Malady is a writer named Jose who is so obsessed with literature that he finds it impossible to distinguish between real life and fictional reality. Part picaresque novel, part intimate diary, part memoir and philosophical musings, Enrique Vila-Matas has created a labyrinth in which writers as various as Cervantes, Sterne, Kafka, Musil, Bolano, Coetzee, and Sebald cross endlessly surprising paths. Trying to piece together his life of loss and pain, Jose leads the reader on an unsettling journey from European cities such as Nantes, Barcelona, Lisbon, Prague and Budapest to the Azores and the Chilean port of Valparaiso. Exquisitely witty and erudite, it confirms the opinion of Bernardo Axtaga that Vila-Matas is "the most important living Spanish writer."

At the start of this dazzlingly inventive novel from Jonas Hassen Khemiri, Abbas, a world-famous photographer and estranged father to a young novelist — also named Jonas Hassen Khemiri — is standing on a luxurious rooftop terrace in New York City. He is surrounded by rock stars, intellectuals, and political luminaries gathered to toast his fiftieth birthday. And yet how did Abbas, a dirt-poor Tunisian orphan and Swedish émigré, come to enjoy such success?Jonas is fresh off the publication of his first novel when answers to this question come in the form of an unexpected e-mail from Kadir, a lifelong friend of Abbas and an effervescent storyteller with delightfully anarchic linguistic idiosyncrasies. The portrait Kadir paints of Abbas — from a voluntarily mute boy who suffers constant night terrors, to a soulful young charmer, to a Swedish immigrant and political exile — proves to be vastly different from Jonas’s view of his father. As the two jagged versions reconcile in Kadir and Jonas’s impassioned correspondence, we’re given a portrayal of a man that is at once tender and feverishly imagined.With an arresting blend of humor and wit, Montecore marks the stateside arrival of an already acclaimed international novelist. Winner of the PO Enquist Literary Prize for accomplished European novelists under forty, Jonas Hassen Khemiri has created a world that is as heartbreaking as it is exhilarating.

A beautiful debut set around the creation of the world-famous Monterey Bay Aquarium — and the last days of John Steinbeck’s Cannery Row.In 1940, fifteen year-old Margot Fiske arrives on the shores of Monterey Bay with her eccentric entrepreneur father. Margot has been her father’s apprentice all over the world, until an accident in Monterey’s tide pools drives them apart and plunges her head-first into the mayhem of John Steinbeck’s Cannery Row.Steinbeck is hiding out from his burgeoning fame at the raucous lab of Ed Ricketts, the biologist known as Doc in Cannery Row. Ricketts, a charismatic bohemian, quickly becomes the object of Margot’s fascination. Despite Steinbeck’s protests and her father’s misgivings, she wrangles a job as Ricketts’s sketch artist and begins drawing the strange and wonderful sea creatures he pulls from the waters of the bay. Unbeknownst to Margot, her father is also working with Ricketts. He is soliciting the biologist’s advice on his most ambitious and controversial project to date: the transformation of the Row’s largest cannery into an aquarium. When Margot begins an affair with Ricketts, she sets in motion a chain of events that will affect not just the two of them, but the future of Monterey as well.

“In Gallant’s stories, the conflicts, obsessions, and concerns — the near-impossibility of gaining personal freedom without inflicting harm on those whom you love and who love you; the difficulty of forgiving a cruel and selfish parent without sentimentalizing him; or the pain of failed renewal — are limned with an affectionate irony and generated by a sincere belief in their ultimate significance, significance not just for the characters who embody them, but for the author and, presumably, the reader as well.”— Russell Banks, from his introductionMavis Gallant is the modern master of what Henry James called the international story, the fine-grained evocation of the quandaries of people who must make their way in the world without any place to call their own. The complexity of the very idea of home is alive in the stories Gallant has written about Montreal. Montreal Stories, Russell Banks’s new selection from Gallant’s work demonstrates anew the remarkable reach of this writer’s singular art. Among its contents are three previously unpublished stories, as well as the celebrated semi-autobiographical sequence about Linnet Muir — stories that are wise, funny, and full of insight into the perils and promise of growing up and breaking loose.

Part novel and part memoir, Yoel Hoffmann’s Moods is flooded with feelings, evoked by his family, losses, loves, the soul’s hidden powers, old phone books, and life in the Galilee — with its every scent, breeze, notable dog, and odd neighbor. Carrying these shards is a general tenderness, accentuated by a new dimension brought along by “that great big pill of Prozac.” Beautifully translated by Peter Cole, Moods is fiction for lovers of poetry and poetry for lovers of fiction — a small marvel of a book, and with its pockets of joy, a curiously cheerful book by an author who once compared himself to “a praying mantis inclined to melancholy.”

ОТ ПЕРЕВОДЧИКА

Банана Ёсимото – современная японская писательница, чьи книги выходят в Японии миллионными тиражами. Она родилась в 1964 году в Токио. Ее дипломная работа «Moonlight Shadow» была отмечена Премией декана факультета искусств Университета Нихон, а также Литературной премией им. Кёка Идзуми. В 1987 году за повесть «Кухня» она получила Премию «Кайэн», которая дается молодым писателям. Ее дебютная книга под тем же названием была также отмечена Премией Министра культуры Японии. Два года подряд Банана Ёсимото удостаивалась Премии им. Акутагавы за романы «Утаката» (Пена) и «Санктюари» (Убежище). Роману «Цугуми» была присуждена Премия им. Сюгоро Ямамото, роману «Амрита» – Литературная премия им. Мурасаки Сикибу.

Все ее книги, начиная с «Кухни» становились бестеселлерами. За 1989 год было продано рекордное количество экземпляров общим тиражом в 4 миллиона 700 тысяч.

Банана Ёсимото популярна не только в Японии, но и в других странах мира. Ее произведения переведены на английский, немецкий, итальянский языки. В Италии книге «Кухня» была присуждена Премия Сканно, а роман «NP» был отмечен премией Финдессимо.

В 2000 году в Японии начат выпуск собрания сочинений Банана Ёсимото в 4-х томах.

Повесть «Moonlight Shadow» – дебютное произведение Банана Ёсимото, которое было включено в книгу «Кухня». Перевод выполнен по книге «Киттин», изд-во Фукутакэ бунко, 1991 г.

Екатерина Тарасова

The mind-bending miniature historical epic is Sjón's specialty, and Moonstone: The Boy Who Never Was is no exception. But it is also Sjón's most realistic, accessible, and heartfelt work yet. It is the story of a young man on the fringes of a society that is itself at the fringes of the world-at what seems like history's most tumultuous, perhaps ultimate moment.Máni Steinn is queer in a society in which the idea of homosexuality is beyond the furthest extreme. His city, Reykjavik in 1918, is homogeneous and isolated and seems entirely defenseless against the Spanish flu, which has already torn through Europe, Asia, and North America and is now lapping up on Iceland's shores. And if the flu doesn't do it, there's always the threat that war will spread all the way north. And yet the outside world has also brought Icelanders cinema! And there's nothing like a dark, silent room with a film from Europe flickering on the screen to help you escape from the overwhelming threats-and adventures-of the night, to transport you, to make you feel like everything is going to be all right. For Máni Steinn, the question is whether, at Reykjavik's darkest hour, he should retreat all the way into this imaginary world, or if he should engage with the society that has so soundly rejected him.

Moore's Mythopoeia is a story in which sci-fi meets the Biblical genesis story, espionage is taken to absurd lengths, action/adventure melds with bodice-ripping love scenes, and one man's defiance illuminates a uniquely human need for sin.

Part Eternal Sunshine of the Spotless Mind, part Aristotle and Dante Discover the Secrets of the Universe, Adam Silvera’s extraordinary debut confronts race, class, and sexuality during one charged near-future summer in the Bronx.The Leteo Institute’s revolutionary memory-relief procedure seems too good to be true to Aaron Soto — miracle cure-alls don’t tend to pop up in the Bronx projects. Aaron could never forget how he’s grown up poor, how his friends aren’t there for him, or how his father committed suicide in their one bedroom apartment. Aaron has the support of his patient girlfriend, if not necessarily his distant brother and overworked mother, but it’s not enough.Then Thomas shows up. He has a sweet movie-watching setup on his roof, and he doesn’t mind Aaron’s obsession with a popular fantasy series. There are nicknames, inside jokes. Most importantly, Thomas doesn’t mind talking about Aaron’s past. But Aaron’s newfound happiness…

Morgan Gower has an outsize hairy beard, an array of peculiar costumes and fantastic headwear, and a serious smoking habit. He likes to pretend to be other people — a jockey, a shipping magnate, a foreign art dealer — and he likes to do this more and more since his massive brood of daughters are all growing up, getting married and finding him embarrassing. Then comes his first dramatic encounter with Emily and Leon Meredith, and the start of an extraordinary obsession.

This unusual epic from the Nobel Laureate Naguib Mahfouz portrays five generations of one sprawling family against the upheavals of two centuries of modern Egyptian history.Set in Cairo, Morning and Evening Talk traces three related families from the arrival of Napoleon to the 1980s, through short character sketches arranged in alphabetical order. This highly experimental device produces a kind of biographical dictionary, whose individual entries come together to paint a vivid portrait of life in Cairo from a range of perspectives. The characters include representatives of every class and human type and as the intricate family saga unfolds, a powerful picture of a society in transition emerges. This is a tale of change and continuity, of the death of a traditional way of life and the road to independence and beyond, seen through the eyes of Egypt's citizens. Naguib Mahfouz's last chronicle of Cairo is both an elegy to a bygone era and a tribute to the Egyptian spirit.

Deuxième grand roman de Louis-Ferdinand Céline,Mort à crédit, publié en 1936, raconte l'enfance du Bardamu de Voyage au bout de la nuit, paru quatre ans auparavant. Après un prologue situant son présent, médecin dans les années trente, le héros narrateur, Ferdinand, se rappelle ses jeunes années, dans un milieu petit bourgeois, vers 1900. Il est fils unique, élevé dans un passage parisien entre une grand-mère éducatrice fine et intuitive, une mère sacrificielle propriétaire d'un petit magasin de dentelles et objets de curiosité et un père violent et acariâtre, employé dans une compagnie d'assurances. Il grandit maladroitement, sans cesse victime des reproches amers de ses parents, multiplie les apprentissages et les échecs sentimentaux et professionnels, séjourne dans un collège anglais avant de voir son destin basculer avec la rencontre d'un inventeur loufoque, Léonard de Vinci de la fumisterie scientifique, pour vivre des aventures toujours tragi-comiques…Texte des origines, marqué par le sceau de l'image maternelle,Mort à crédit est un parcours initiatique, tout en violence et en émotion, où les souvenirs s'accompagnent des misères et des révoltes de l'enfance. C'est aussi une formidable évocation de Paris au tournant du siècle, drôle et riche de cocasseries irrésistibles, dans un style propre à Céline, fait d'exclamation, cassant la syntaxe traditionnelle, transposant le parler populaire dru et vert dans le langage écrit.-Céline DarnerQuatrième de couvertureUn roman foisonnant où Céline raconte son enfance et sa jeunesse : « C'est sur ce quai-là, au 18, que mes bons parents firent de bien tristes affaires pendant l'hiver 92, ça nous remet loin.C'était un magasin de „Modes, fleurs et plumes“. Y avait en tout comme modèles que trois chapeaux, dans une seule vitrine, on me l'a souvent raconté. La Seine a gelé cette année-là. Je suis né en mai. C'est moi le printemps. »