Next month we’ll be reissuing The Guinea Pigs by Ludvik Vaculik, a Czech modern classic featuring one of the most memorably odd narrators ever. His sort of befuddled meandering through life (not understanding the strange situation going on at the bank where he works, berated a kid that he mistakes for his son, etc.) is funny in and of itself, but it’s the spectacularly peculiar word choices and phrasings that really make this book sing.
Here’s an example from the opening paragraph:
There are more than a million people living in the city of Prague whom I’d just as soon not name here. Our family is originally from the country. Our family, that means me, my wife, and two tolerable little boys.
(It’s that “tolerable” that’s so fantastic.)
As the story progresses and the reader gets more and more attuned to the quirks and clicks of the narrator’s voice, the funnier this gets. Even when our friendly narrator is doing very odd things to innocent guinea pigs . . .
Anyway, to share our love of this book with the rest of the world, we decided to give away 10 copies via GoodReads. So if you’re a member, be sure to click this handy little widget below to be entered into the drawing.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
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In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
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With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .