Two Lines Press – förlag

At nearly 100 years old, Natalia has lived a full life. A life defined by people: Vicente, her husband and fellow teacher; her best friend Sarah, the cookie seller; Jorge who offered tarot readings for humans and birds alike; and her friends who gathered each Sunday to eat bean stew and plot ways to resist Brazil's dictatorship any way they could. But slowly, one after another, the people that made up this old woman's life have disappeared, leaving her alone. Well, not entirely alone-she's pretty sure a spy is tracing her every move, and her loved ones haven't left her, not really. Now, with an unnamed external threat taking over the world, Natalia watches the days pass from inside her Rio de Janeiro apartment, awaiting the daily call from her adult daughter living somewhere faraway 'on the upper ocean.' In Juliana Leite's English-language debut, acutely translated by Zoe Perry, nothing is ever what it seems: neighbours are informants; ginger cookies exact revenge; and in a friend's dark basement, Vicente has visions of an early human ancestor being devoured by a lion. Walking the tenuous line between fact and fable, humour and horror, EXEMPLARY HUMANS is an ambitious novel about memory and the human condition-past, present, and future.

In a cabin deep in the Cameroonian forest, two young lovers meet in secret. Afterward, one goes off to fight in WWII for France, a country he's never seen before, while the other becomes a powerful priestess. Years later, their daughter comes together with a small group of people in the same cabin to discuss the future of their country. France has declared them free, but the colonialists who still control the local government aren't giving up their power. From this humble cabin the resistance is born. Populated by a sprawling revolutionary community of found family, The Resistance chronicles the real post-colonial fight in Cameroon and the heart-breaking sacrifices made by those who led their people toward a vision of the world they would never live to see.

"e;A compact, merciless tragedy... I read this novel with something resembling a rapturous grief."e; -Kate ZambrenoFor ten years Dora has ritualistically mourned her husband's death, a pointless ritual that forced her to rely on support from old friends and acquaintances. Her beloved husband, a "e;Christ"e; so principled he rejected any ambition whatsoever as a construct of a corrupt society, succeeded only in leaving Dora and their daughter with nothing. When her mother-in-law reveals a shattering secret about their marriage one night, Dora's narrative of her own life is destroyed. Three generations of women-Dora, her daughter, and mother-in-law-must navigate a world that has been shaped by the blundering men off in the distance, figures barely present who nonetheless define the lives of the women they would call mother, wife, or lover.Narrated through the gritted teeth of an acquaintance, Empty Wardrobes Maria Judite de Carvalho s cutting 1966 novel, translated from Portuguese for the first time by Margaret Jull Costa and introduced by Kate Zambreno is a tale of women who are trapped within the quiet devastation of a patriarchal society and preyed upon by the ambient savageries that perch in its every crevice.

In what was at first meant to be a short essay about the influential Mexican writer Elena Garro (1916-1988), Jazmina Barrera's deep curiosity and exploration give us a singular portrait of a complex life. Sifting through the writer's archives at Princeton, Barrera is repeatedly thwarted in her attempt to fully know her subject. Traditional means of research - the correspondence, photos, and books - serve only to complicate and cloud the woman and her work. Who was Elena Garro, really? She was a writer, a founder of 'magical realism', a dancer. A devotee to the tarot and the I Ching. A socialite and activist on behalf of indigenous Mexicans. She was a mother and a lover who repeatedly shook off (and cheated on) her manipulative husband, Nobel-laureate Octavio Paz. And above all, she wrote with simmering anger and glittering imagination. The Queen of Swords is a portrait of a woman that also serves as an alternative history of Mexico City; a cry-out for justice; and an homage to the unknowable. It transcends mere biography, supplanting something tidy and authoritative for a sprawling experiment in understanding.

Each story in Swell launches from the common but pivotal moments that determine the course of everyday life, but they're often filtered through the perspective of someone else: documentarians, novelists, storytellers, gossips. Then, as the stories build atop one another and intertwine, they begin to shift and destabilise. Characters return but their histories are changed, alternate timelines open, and no one is ever who they were. Like an optical illusion this book offers two complete pictures. Viewed as individual stories, contemporary Korean lives are rendered with sensitivity and realism-relationships tatter and bereaved loved-ones search for ways to move on. Viewed as a complete collection, though, a stranger narrative emerges, in which there is perhaps some invisible logic behind everything, incomprehensible to us. Wholly original, Swell, translated by Janet Hong, is a book full of trap doors, hidden passageways, and the unsolvable mystery behind everyday life.

Short stories from the 'cursed mother of magical realism' (El Mundo), now in English for the first time. A woman flits between two realities centuries apart, as scenes from the violent conquest of Mexico bleed their way into her comfortable contemporary life. Two little girls visit the home of a sorcerer who tortures women named after the days of the week. Girls become dogs, a laborer hides human bones in bricks he'll use to build a new development, and an old woman appears at an acquaintance's door one night with a knife and a bone-chilling confession. With The Week of Colors, Elena Garro laid the groundwork for the literary movements that would shape the landscape of Latin American fiction and beyond. Here you'll find the early roots of magical realism, feminist horror, and anticolonial speculative fiction. In The Week of Colors, Garro highlights the violence in our history, our homes, and our hearts, in vivid color.

A moody and beautiful reflection on relationships, and how our idea of the world too often fails to match reality, All My Friends delivers five stories that probe the boundaries between individuals to mediate on how well we really know anybody, including ourselves. Written in hypnotic prose with characters both fully fleshed and unfathomable, All My Friends opens with the fraught love story of a man who has fallen for his housekeeper, his student of many years ago. Losing his grip as he feels his own family turning against him, he plots romance between the housekeeper and an old friend, whom he thinks is perfect for her. Later NDiaye gives us the harsh tale of a young boy longing to escape his life of poverty by becoming a sex slave—just like the beautiful young man that lived next door. And when a woman takes her mentally challenged son on a bus ride to the city, they both know that she’ll return, but he won’t. Chilling, provocative, and touching, this is an unflinching look at the personal horrors we fight every day to suppress—but in All My Friends they’re allowed to roam free.

The Prix Goncourt–winning author of the scandalous The Kindly Ones returns with four new novellas that offer startlingly fresh depictions of age-old obsessions: sex and love, desiring and gazing, and the memories that take a lifetime to process. In The Fata Morgana Books, Littell crafts unique narrative voices by letting sensual feelings take the fore, whether the slippery promise of silk underwear, the dizzy intensity of abstract art, the languid torpor of a French beach, the shock of a bull’s goring horn, or the warmth of a fondled breast. The connections between events are left obscure, yet these novellas are as striking as a gust of frigid air, presenting a skewed reality in which the reader is drawn forward to figure out who, or what, is telling the story, and why. Narrated by what may be hermaphrodites or ghosts, wanders or wonders, Littell’s masterful, effortless sentences carry these stories that illuminate the shadowy depths of solitude, reflection, longing, and lust."In Quarters" is a Proustian ghost story, or maybe a memory, or a dream. Narrated by a man who may or may not exist, it follows him through a sprawling mansion where he cares for a sick child, though he has forgotten whether or not the boy is his, while stealing food from other''s plates and having sex with a beautiful young woman. When he travels to a provincial city, the young woman reappears—or does she? Repeated brushes with shadowy men with umbrellas offer a hint of menace that forms the backbone of this strange tale."Story About Nothing" follows a man who cannot remember his birthday "or even the sign under which I was born" as he experiences transgenderism, a pornographic tape given to him by a mysterious stranger, and a Hemingway-esque series of bullfights under the hot Spanish sun. As Littell takes his narrator through a series of affairs, each more ephemeral then the last, it becomes clear that this is a story about the transience of sex, the way that desire evaporates in satiation and then reappears when two strangers share a long look over a strong drink. Anchored by striking images—a lime sorbet, children diving off of high rocks—Littell''s tale becomes a trip through desire that is not soon forgotten.Commanding in spite of their vagueness, beguilingly easy to read but full of depth and mystery, these novellas explore the in-between spaces: between thoughts, between bodies, between hungers and their satisfactions, between eyes and the things they look at.

Chinese literature published in the United States has tended to focus on politics — think the Cultural Revolution and dissidents — but there''s a whole other world of writing out there. It''s punk, dealing with the harsh realities lived by the millions of city-dwellers struggling to get by in the grey economy. Dunhuahg, recently out of prison for selling fake IDs, has just enough money for a couple of meals. He also has no place to stay and no prospects for earning more yuan. When he happens to meet a pretty woman selling pirated DVDs, he falls into both an unexpected romance and a new business venture. But when her on-and-off boyfriend steps back into the picture, Dunhuahg is forced to make some tough decisions. Running Through Beijing explores an underworld of constant thievery, hardcore porn, cops (both real and impostors), prison bribery, rampant drinking, and the smothering, bone-dry dust storms that blanket one of the world''s largest cities. Like a literary Run Lola Run, it follows a hustling hero rushing at breakneck speed to stay just one step ahead. Full of well-drawn, authentic characters, Running Through Beijing is a masterful performance from a fresh Chinese voice.

Beginning in the middle of crisis, then accelerating through plots that grow stranger by the page, Naja Marie Aidt’s stories have a feel all their own. Though they are built around the common themes of sex, love, desire, and gender, Aidt pushes them into her own desperate, frantic realm. In one, a whore shows up unannounced at a man’s apartment, roosts in his living room, and then violently threatens him when he tries to make her leave. In another, a wife takes her husband to a city where it is women, not men, who are the dominant sex—but was it all a hallucination when she finds herself tied to a board and dragged back to his car? And in the unforgettable “Blackcurrant,” two young women who have turned away from men and toward lesbianism abscond to a farm, where they discover that their neighbor’s son is experimenting with his own kind of sexuality. The first book from the widely lauded Aidt to reach the English language, Baboon delivers audacious writing that careens toward bizarre, yet utterly truthful, realizations.

It seems there is no genre of writing Marie NDiaye will not make her own. Asked to write a memoir, she turned in this paranoid fantasia of rising floodwaters, walking corpses, eerie depictions of her very own parents, and the incessant reappearance of women in green. Just who are these green women? They are powerful (one was NDiaye’s disciplinarian grade-school teacher). They are mysterious (one haunts a house like a ghost and may be visible only to the author). They are seductive (one stole a friend’s husband). And they are unbearably personal (one is NDiaye’s own mother). They are all, in their way, aspects of their creator, at once frightening, menacing, and revealing of everything submerged within the consciousness of this singular literary talent. A courageous, strikingly honest, and unabashedly innovative self-portrait, NDiaye’s kaleidoscopic look at the women in green is a revelation to us all — about how we form our identities, how we discover those things we repress, and how our obsessions become us.