Uued tooted

A miracle, an instant classic. Slavoj Zizek, philosopher The tragedy is done, the tyrant Macbeth dead. The time is free. But for how long? As Macduff pursues dreams of national revival, smaller lives are seeding. In the ruins of Dunsinane, the Porter tries to keep his three young boys safe from the nightmare of history. In a nunnery deep in Birnam Wood, a girl attempts to forget what she lost in war. Flitting between them, a tortured clairvoyant trembles with the knowledge of what's to come. A collaboration between two of the world's most eminent Shakespeare scholars, "Macbeth, Macbeth" is a unique mix of creative fiction and literary criticism that charts a new way of doing both, sparking a whole new world from the embers of Shakespeare's original tragedy. Macbeth, Macbeth weaves a thread that enrichens the original classic with the manic energy of Tristram Shandy, the grim intensity of Crime and Punishment, and the existential absurdity of Waiting for Godot. 'A thrilling re-imagination of Shakespeares darkest play.' Lucy Bailey, theatre director Shakespeare, I suspect, would have been delighted. Don Paterson, poet Autorid: Ewan Fernie, Simon Palfrey

In 1935 a small boy is found in a mine in what is known as the Belgian Congo. It is a time of ferment; nefarious forces are at play. Against this backdrop, the boys discovery draws the attention of men of distinction across the globe scientists, politicians and army men. Soon enough a race begins, to bring the boy into safe custody. After a tortuous journey by train through the continent of Africa, the boy travels by ship to New York, where he is taken into the care of the United States Army. From here our diminutive hero will become swept up in a narrative not of his own making, a narrative that will lead him into the heart of one of the most devastating events of the twentieth century. Audacious in its conceit, thrillingly readable and profoundly humane, Little Boy is a novel of science and politics, of men and war, of compassion and becoming. In prose of baffled grace, it weaves a path through some of the darkest moments in our collective history. Its ending will leave you, like its protagonist, suspended in mid-air, stunned by the awful things that men have put forth into the world. Autorid: John Smith

A by turns humorous, touching and harrowing story concerning Yu-Jie, a Social Media Manager for a local MP facing a PR disaster in the midst of a wave of social outrage stirred up by a troubling crime. Autorid: Jenna Tang, Lâu Tsí-û

Boy meets girl when both happen to arrive on the same rooftop, on the same day, to kill themselves. Instead, they chat and make a pact that sees their lives gradually entwine but unravel at the same time. Autorid: Qiu Miaojin, Shengchi Hsu

Poems, like anxiety, attempt to contain what spills over, and to overflow what fits too tightly. In Desiring Machines, Andrea Bradys vital, candid eighth collection of poetry, the language of crisis gapes and sings. These poems find breathing spaces within the minutes dilated by fear, the slow ticking of grief, rage stalled and wandering, the strangely activated temporalities of illness and pain, or the long cataclysm of climate emergency. In a world sick and on fire, this fierce and vulnerable book clings to life; to the consoling possibilities for continuing in love and solidarity. Midway through lifes journey, on the margins of a burning forest, we find ourselves in a clearing full of pulsing machines... When the time comes you are holding on to a facsimile of hope: that beneath your feet there is a landing, vulnerable fruit caught in a net; that the interval between struggle and arrival is just space, empty space, no complexities. This is another way of talking about being born ... -- Andrea Brady is the author of eight books of poetry and two critical monographs, including Wildfire (2010), Mutability (2012), Cut from the Rushes (2013), The Strong Room (2016), The Blue Split Compartments (2021) and Poetry and Bondage: A History and Theory of Lyric Constraint (2021). She has held fellowships from the Leverhulme Trust and the National Humanities Center, and performed throughout Europe and in Canada, the United States, Lebanon and Chile. Her work has been translated into French, German, Spanish, Slovene, Slovak, Finnish, Greek, Catalan, and Croatian, and has been the subject of a large number of critical essays. She is Professor of Poetry at Queen Mary University of London where her research focuses on contemporary poetics and the early modern period. Andrea is the curator of the Archive of the Now and the co-editor (with Keston Sutherland) of Barque Press. Autorid: Andrea Brady

In her debut book, A. V. Marraccini explores how we inhabit works of art, and how our sense of longing informs and changes our relationship to them. Intertwining fig wasps, Updike, Genet, Twombly, Rilke, jewel heists, and a vividly rendered panoply of histories and myths from classical antiquity, We the Parasites both tells a strange love story and makes a slantwise argument about reading with the body, and what it ultimately means to know, and to want. We the Parasites is my new favourite book, a dazzlingly erudite disquisition of the erotics of criticism, riven with knockout sentences and a luxuriant sensibility. A.V. Marraccini stops you in your tracks, urges you to think with her a while about the delicious joy of art, how we grow huge and terrifying on it, and how this thievery, this parasitism is necessary both for its continuance and for our own. Lauren Elkin, author of Flâneuse: Women Walk The City In 1964, Sontag wrote: In place of a hermeneutics we need an erotics of art. Since then, many works of criticism have paid lip service to this desideratum, but few have managed to achieve it... In We the Parasites, encountering a work of art is not fixed as a safe looking at, but rather as an eating, a kissing, a being-seduced-by, a being-contaminated by, a being-infected-by that restores art and criticism to the dangerous adventure that it is.' Ryan Ruby Autorid: A.V. Marraccini

When his wife returns to her parents house to have their second child, an unnamed narrator and his son are left to manage by themselves. Instead of absence, what the father and son begin to notice is a strange noise opening up between them, reverberating through their home, their television set, and the books they read at night. The wood outside their home hums with it, too: leaves fall from branches which are already naked, trees wriggle when walked past, and the hills on the horizon rise and fall in a building rhythm. Ono's stories teeter on the edge of something unsayable, exploring repetition and contradiction to sketch compelling, otherworldly characters. The strange sound which hums through the twinned narratives is distilled in Carpenter's translation, which masterfully employs the rhythms and echoes of the English language to convey Ono's sense that something is coughing, laughing, turning under the words on the page. Autorid: Masatsugu Ono

An unnamed narrator visits her friend, the girl who is getting married, in her apartment on the fifth floor of an anonymous building. With each flight of steps, the narrator recalls different memories of the time they have spent together their time in high school, their first jobs, a chance encounter on the train. However, just as the building's corridor twists and turn toward the flat, we realise that the story, too, is shifting under our feet. As details go missing and memories are contradicted, we are left wondering whose eyes we re looking through. Autorid: Aoko Matsuda