Dubravka Ugrešić is considered one of Europe’s most distinctive novelists and essayists. She is the 2016 winner of Neustadt International Prize for Literature for her body of work, joining literary luminaries from Gabriel Garcia Marquez to Elizabeth Bishop to Octavio Paz. In 1991 when war broke out in the former Yugoslavia, Ugrešić took a firm antiwar stance, critically dissecting retrograde Croatian and Serbian nationalism, the stupidity and criminality of war, and becoming a target for nationalist journalists, politicians, and fellow writers in the process. Subjected to prolonged public ostracism and persistent media harassment, she has lived in exile since 1993.
“Anna Moschovakis takes the reader straight to the terrifying edge: that moment where one ages out of youthfulness & begins to flutter in the debris of middle living, flattened out by technology, wild-goose chasing one’s data. Yet, the deeper we look into Eleanor’s unsettledness, the more we see & the more hope we find in her rhizomic wandering. This is a beautiful slow burn of a novel.” —Renee Gladman;
“By turns funny, melancholic, & provocative, Anna’s novel undoes & remakes the conventions of realist fiction through repetition & compression of time . . . It is ‘luminously ordinary’ in its progression, where profound shifts are as small as a postcard written or a hand touched.” —BOMB
“Lacey captures with eerie precision the strangeness of being a person in the world, living alongside other human beings with unknowable thoughts and feelings . . . Reading Lacey’s fiction feels like walking through a dark apartment in someone’s mind, full of winding hallways and unmarked doors. You never know quite where you are or where you’ll end up. Like the work of Clarice Lispector or Rachel Cusk, Lacey seems to be on the verge of inventing a new genre somewhere between prose poem and fugue state.”–Los Angeles Times
“This book is going to change how we think about life and women forever; like ancient Greek philosopher level of describing reality in a way that creates it. So, go or don’t go, read the book or don’t — either way your life will be changed by this thinker. I’m being serious here.”–Miranda July; “This inquiry into the modern woman’s moral, social and psychological relationship to procreation is an illumination, a provocation, and a response—finally—to the new norms of femininity, formulated from the deepest reaches of female intellectual authority. It is unlike anything else I’ve read. Sheila Heti has broken new ground, both in her maturity as an artist and in the possibilities of the female discourse itself.”–Rachel Cusk
“Not many authors are compared to Borges, Cervantes, and Kathy Acker all in one breath, but that is exactly what we’re dealing with here: Azareen Van der Vliet Oloomi is a twisted, twisty genius.”–Nylon Magazine; “Van der Vliet Oloomi captures the shattered identity of the refugee and the immigrant, the way that literature becomes a lifeline in exile: a movable home, a network of dissent, a genealogy beyond national borders.”–Los Angeles Review of Books; “Hearken ye fellow misfits, migrants, outcasts, squint-eyed bibliophiles, library-haunters and book stall-stalkers: Here is a novel for you.”–The Wall Street Journal
“In Counternarratives, John Keene undertakes a kind of literary counterarchaeology, a series of fictions that challenge our notion of what constitutes “real” or “accurate” history. His writing is at turns playful and erudite, lyric and coldly diagnostic, but always completely absorbing. Counternarratives could easily be compared to Borges or Bolaño, Calvino or Kiš.”–Jess Row; “Keene’s story collection is truly radical—in its politics, in its stylistic restlessness, in its rethinking of the myths we tell ourselves about race and sexuality in the history of the Americas”–Anthony Domestico
“These pieces are elaborate piecework—perforated, whip stitched, and distressed field-dressed dissections of language. Tortured? Maybe. But lusciously junked & juxtaposed, turned inside out & every which way but…No, in every way they make way.”—Michael Martone; “Imagine an entity composed of sheep, wheat, assholes, clitorises, stars. Why not? That would be this poem, this world — a perfectly recognizable post-human world which is also post surreal. Vi Khi Nao is making it new, no, she is doing the old job of making us see what’s already here in a new way.”.– Rae Armantrout