Swiss List – serie

Annemarie Schwarzenbach has become a European cult figure for bohemian free spirits since the rediscovery of her works in the late 1980s. "Lyric Novella" is her story of a young man's obsession with a Berlin variete actress. Despite having his future career mapped out for him in the diplomatic service, the young man begins to question all his family values under Sibylle's spell. His family, future, and social standing become irrelevant when set against his overriding compulsion to pick her up every night from the theater so they can go for a drive. Schwarzenbach's clear, psychologically acute prose makes this novella an evocative narrative, with many intriguing parallels to her own life. In fact, she admitted after publication that her hero was in fact a young woman, not a man, leaving little doubt that "Lyric Novella" is a literary tale of lesbian love during socially and politically turbulent times.

As the current global recession stubbornly persists and financial experts around the world struggle to prevent further financial collapse, everyone has a theory about how to save the economy. But perhaps no idea that has been proffered is as radical or as unique as what Hugo Loetscher imagines in his novel "Noah". In this book, first published in German in 1967, the eponymous Old Testament hero fuels his local economy with a prescient plan to build the Ark. Though no one around him seriously believes in the coming flood, everyone is more than willing to do business with him: "The people of Mesopotamia had never had it so good. There had been an economic miracle". It is boom time in Mesopotamia, and the economy is flourishing; but as with many financial bubbles, scandal and demise are not far out of sight. An ancient legend retold in light of capitalist reality, Noah is a witty, delightful, and thought-provoking parable of our times.Hugo Loetscher (1929-2009), widely known as the most cosmopolitan of Swiss writers due to his travels and journalistic work in Latin America and Asia, has until now been known mainly by readers in his home country, where he was the recipient of its most prestigious literary prize. This attentive and engaging translation makes available to a new audience an incredibly timely and entertaining work.

T., an acclaimed but aging actor, and Efina, a passionate theatergoer, are engaged in an obsessive love affair that careens from attraction to repulsion. They compulsively write letters - often to express their intense dislike of one another - which are sent or unsent, answered or unanswered. They meet, they break up, they marry, and they get divorced. They neither can live with nor without one another, and this impossible state of affairs lasts all their lives. In between, there are other men and many other women, but throughout, the magic of the theater and the art of make-believe endure. Efina is a tumultuous novel about art, love, disdain, and above all - obsession - told in a quirky, highly original style. It presents an unapologetically dysfunctional yet honest relationship, detailing outrageous thoughts and absurd behaviors in clear and precise prose. What could have been a sad tale of failed love is delightfully transformed by Noelle Revaz into a masterpiece of dark humor.

In the wildly entertaining novel The Blue Soda Siphon, the narrator unexpectedly finds himself back in the world of his childhood: Switzerland in the 1940s. He returns to his childhood home to find his parents frantic because their son is missing. Then, in another switch, the young boy that he was back then turns up in the present of the early 1990s, during the Gulf War, where he meets himself as an older man and meets his adult self's young daughter. These head-scratching, hilarious time shifts happen when both the adult narrator and his childhood self go to the cinema and see films, the subjects of which echo their own lives. Translated into English for the first time by Donal McLaughlin, this novel, in which the eponymous blue soda siphon bottle is a recurring symbol, is a magnificent example of Urs Widmer's characteristic humor, literary genius, and unparalleled imagination.

The day is Friday, May 22, 2032. On this day, the day after his ninety-fourth birthday, a man is sitting in a beautiful garden. It is a paradise where he often played during his childhood, and it is here that he is recording the story of his adventures with Mr Adamson. In the course of this compelling novel from Swiss author Urs Widmer, this man narrates his unusual story to his granddaughter, Anni. While he recounts his life, he is also waiting-waiting for the arrival of this very Mr. Adamson, whom he has not seen since the age of eight. Even then it was a mysterious encounter - a glimpse into realms that normally remain concealed to the living. For Mr. Adamson died at the very moment when our narrator was born, and he will soon return to escort the ninety-four-year-old narrator into another paradise. Told with Urs Widmer's signature humor, genius, and lively imagination, Mr Adamson is a superb story and a spellbinding book. With its vitality and zest for life, it manages to hold at bay that scandal we must all face in our lives: death. It includes praise for Widmer.

One of the central figures from a remarkable generation of French-language poets, Pierre Chappuis has thus far only been represented in English translation in fragments: a few poems here and there in magazines, online reviews, and anthologies. Like Bits of Wind rights that wrong, offering a generous selection of Chappuis’s poetry and prose from the past forty years, drawn from several of his books. In these pages, Chappuis delves into long-standing questions of the essence of life, our relationship to landscape, the role of the perceiving self, and much more. His skeletal, haiku-like verse starkly contrasts with his more overtly poetic prose, which revels in sinuous lines and interpolated parentheticals. Together, the different forms are invigorating and exciting, the perfect introduction for English-language readers.

Max Frisch (1911 91) was a giant of twentieth-century German literature. When Frisch moved into a new apartment in Berlin's Sarrazinstrasse, he began keeping a journal, which he came to call the Berlin Journal. A few years later, he emphasized in an interview that this was by no means a "scribbling book," but rather a book "fully composed." The journal is one of the great treasures of Frisch's literary estate, but the author imposed a retention period of twenty years from the date of his death because of the "private things" he noted in it. From the Berlin Journal now marks the first publication of excerpts from Frisch's journal. Here, the unmistakable Frisch is back, full of doubt, with no illusions, and with a playfully sharp eye for the world. From the Berlin Journal pulls from the years 1946 49 and 1966 71. Observations about the writer's everyday life stand alongside narrative and essayistic texts, as well as finely-drawn portraits of colleagues like Gunter Grass, Uwe Johnson, Wolf Biermann, and Christa Wolf, among others.Its foremost quality, though, is the extraordinary acuity with which Frisch observed political and social conditions in East Germany while living in West Berlin.

Since his first collection of poetry appeared in 1953, Philippe Jaccottet has sought to express the ineffable that lies at the heart of our material world in his essential, elemental poetry. As one of Switzerland's most prominent and prolific men of letters, Jaccottet has published more than a dozen books of poetry and criticism. One of Europe's finest contemporary poets, Jaccottet is a writer of exacting attention. Through keen observations of the natural world, of art, literature, music, and reflections on the human condition, Jaccottet opens his readers' eyes to the transcendent in everyday life. The Second Seedtime is a collection of "things seen, things read, and things dreamed." The volume continues the project Jaccottet began three decades earlier in his first volume of notebooks, Seedtime. Here, again, he gathers flashes of beauty dispersed around him like seeds that may blossom into poems or moments of inspiration. He returns, insistently, to such literary touchstones as Dante, Montaigne, Gongora, Goethe, Kierkegaard, Holderlin, Michaux, Hopkins, Bronte, and Dickinson, as well as musical greats including Bach, Monteverdi, Purcell, and Schubert.The Second Seedtime is the vivid chronicle of one man's passionate engagement with the life of the mind, the spirit, and the natural world.

It's Switzerland in the 1920s when the two lovers first meet. She is young, beautiful, and rich. In contrast, he can barely support himself and is interested only in music. By the end of their lives, he is a famous conductor and the richest man in the country, but she is penniless. And most important of all, no one knows of her love for him; it is a secret he took to his grave. Here begins Urs Widmer's novel My Mother's Lover. Based on a real-life affair, My Mother's Lover is the story of a lifelong and unspoken love for a man recorded by the woman's son, who begins this novel on the day his mother's lover dies. Set against the backdrop of the Depression and World War II, it is a story of sacrifice and betrayal, passionate devotion, and inevitable suffering. Yet in Widmer's hands, it is always entertaining and surprisingly comic--a unique kind of fairy tale.

In this companion to Urs Widmer's novel My Mother's Lover, the narrator is again the son who pieces together the fragments of his parents' stories. Since the age of twelve, Karl, the father, has observed the family tradition of recording his life in a single notebook, but when his book is lost soon after his death, his son resolves to rewrite it. Here, we get to know Karl's friends--a collection of anti-fascist painters and architects known as Group 33. We learn of the early years of Karl's marriage and follow his military service as the Swiss fear a German invasion during World War II, his political activity for the Communist Party, and his brief career as a teacher. Widmer brilliantly combines family history and historical events to tell the story of a man more at home in the world of the imagination than in the real world, a father who grows on the reader, just as he grows on his son.

The Lectures on Poetics Series at the University of Frankfurt VI has hosted many illustrious speakers at its lectern, including Ingeborg Bachmann, Theodor Adorno, and Heinrich Boll. At the beginning of 2007, Urs Widmer--described by the Independent as "one of the living greats of Swiss literature"--spoke to more than twelve hundred students and enthusiasts, sharing the sum of his understandings of poets and their timeless creations. In On Life, Death, and This and That of the Rest, English language readers will gain access to Widmer's historic talks for the first time through Donal McLaughlin's excellent translation. Here, Widmer imparts his views on the poet as deviant and as sufferer, and as the conduit for the dream of singing to the imagination in the nameless voice of the people. Here, one of our finest living writers shares his experience of life as an author and as a devotee of the printed word with a new and enthusiastic readership.

The year is 323 bce. King Alexander of Macedonia--Alexander the Great--lies paralyzed by poison in his palace in Babylon. He is thirty-two years old, had Aristotle as a mentor, and is the greatest military commander the world has ever seen. At the other end of the palace, Phyllis, a cook for Alexander's army, sits locked in a room, arrested on suspicion of being the poisoner. All of her adult life she has lived in the field--and for a long period of time was Alexander's lover. Who has poisoned the king? Phyllis is allowed to live as long as she writes down everything she knows about Alexander. She tells a brutal story of the violent daily life in the war, about the planning of the expansion into the Arabian Peninsula, about an invisible library containing marvelous manuscripts and discoveries, and about the passion between a cook and a king. With The Invisible Library, Thorvald Steen interweaves known and unknown, relying on facts until they run out, then building his story on what is probable, to tell the story of a little-known period in the life of one of the most renowned figures in history. The result is an existential and inspired novel that goes to the heart of the human experience--who are we in war, in love, during the final days of life?

In these times of heartbreaking violence, clashing religions, and a seemingly never-ending narrative of dichotomy between East and West, wonder at the religion and culture of the Middle East can be in short supply. However, the lyrical and philosophical travel writing in Swiss poet Philippe Jaccottet’s Calm Fire rekindles it, lifting us out of our ordinary locales and stories of violent conflict in the Middle East. Jaccottet’s poetic descriptions explore the rich cultural worlds of Syria, Lebanon, Egypt, and Israel, giving us uncommon glimpses into countries so often associated with turmoil, death and destruction. Expressing a poet’s admiration for the ecstasies of faith and a philosopher’s skepticism of these seemingly transformative feelings, Jaccottet dives deep into the religious cultures of the places he visits.​Ultimately, whether in his native Swiss Alps or among the cedars of Lebanon, the same question pervades Philippe Jaccottet’s work: How should we live? More than a simple palliative to a depressing news cycle, Calm Fire captures a true sense of place by celebrating and pondering ways of life through the immersive experience of travel.

Somewhere deep in the European forest they meet. Frontier workers, smugglers, refugees, workers, asylum seekers, inspectors, artists, musicians, actors, journalists, scholarship holders, logisticians, students, and ghosts. They come from everywhere. They are all representatives of our time, and they have conversations about origins and justice; body and state; import and export; homeland and migration. They talk together about happiness, music, and death. In Shift Sleepers, Swiss writer Dorothee Elmiger has produced a novel that sheds light on the controversial issues of our time, finding a new language for this conversation previously unheard in contemporary German literature.

Victoria has just recently moved from Zurich back to her hometown of Bucharest when the bank where she works is robbed. Put on leave so that she can process the trauma of the robbery, Victoria strolls around town. Each street triggers sudden visions as memories from her childhood under the Ceausescu regime begin to mix with the radically changed city and the strange world in which she now finds herself. As the walls of reality begin to crumble, Victoria and her former self cross paths with the bank robber and a rich cast of characters, weaving a vivid portrait of Romania and one woman's self-discovery. In her stunning second novel, Swiss-Romanian writer Dana Grigorcea paints a series of extraordinarily colourful pictures. With humor and wit, she describes a world full of myriad surprises where new and old cultures weave together--a world bursting with character and spirit.

With subtle, bemused humor and an unerring eye for human frailty, Michel Layaz is known for his tender writing about the hidden tensions within families, the awkwardness of adolescence, and the drama of intimacy between friends and lovers. His fifth novel, My Mother's Tears, is his most poignant yet. The adult narrator of My Mother's Tears has returned to clean out his childhood home after his mother's death. In thirty short chapters, each focused on a talismanic object or resonant episode from his childhood, the narrator tries to solve the mystery behind the flood of tears with which his strikingly beautiful, intelligent, and inscrutable mother greeted his birth. Like insects preserved in amber, these objects--an artificial orchid, a statue, a pair of green pumps, a steak knife, a fishing rod and reel, among others--are surrounded by an aura that permeates the narrator's life. Interspersed with these chapters are fragments from the narrator's conversation with his present lover, a woman who demands that he verbally confront his past. This difficult conversation charts his gradual liberation from the psychological wounds he suffered growing up. Not only an account of a son's attempt to understand his enigmatic mother, My Mother's Tears is also a moving novel about language and memory that explores the ambivalent power of words to hurt and to heal, to revive the past and to put childhood demons to rest.

Gustave Roud, perhaps the most beloved poet of Swiss Romandy, is widely considered the founder of modern francophone Swiss literature, along with Charles-Ferdinand Ramuz. Roud lived at his grandfather’s farm in Carrouge, Canton Vaud, for his entire life. In Air of Solitude, the first section of this two-part book, he stalks the structures and fields of his youth, composing memories out of his landscape. The narrator appears homegrown, expressing nostalgia for what is already in front of him. Yet, like an outsider, he remains distinctly elsewhere, unable to participate in the workday rituals of the men around him—a stalking shadow of unfulfilled yearning for affection and belonging. Air of Solitude explores the rural bodies and lives of the Vaudois, returning again and again to the desired male laborer Aimé.  Between each section of Air of Solitude, Roud inserts short vignettes that provide fleeting and lyrical images that resemble allusions to half-forgotten memories. However, Roud leaves the relationship between the titled sections and the interludes ambiguous. As the book concludes with Requiem, the remnants of narrative shatter, leaving behind only the spectral tatters of memory as Roud confronts the enigma of loss in peerless, jewel-studded elegiac prose. With these two tales, Roud revives the pastoral tradition and injects it with distinctly modernist anxiety and disillusionment.

August 6, 1943. Chaim Soutine, a Jewish painter from Belorussia and a contemporary of Chagall, Modigliani, and Picasso, is hidden in a hearse that’s traveling from a small town on the Loire towards Nazi-occupied Paris. Suffering from a stomach ulcer, he urgently needs a life-saving operation. But the hearse must avoid the occupiers’ checkpoints, and it becomes increasingly likely that he will not survive the journey.  In a stream of extraordinary images, the morphine-induced artist hallucinates and remembers his life. He dreams of his childhood in Smilovichi near Minsk; his beginnings as a painter in Vilna; his arrival in 1913 in the art capital of the world, Paris, where he befriends Modigliani; and his survival of years of struggle and finding sudden success, only to be persecuted and forced into hiding when the Nazis invade. Back in the present, the painter believes that the power of milk is the only possible remedy for his ulcer. In his mind, he is travelling to a “white paradise”—a strange clinic where a “god in white” declares him healed but forbids him to paint. But for Soutine, neither paradise nor salvation exists if he cannot paint. So, he begins to paint again in secret, willing to pay the price of discovery.  A brilliant biographical novel about childhood, longing, friendship, bodily pain, and the wounds of exile, Ralph Dutli’s Soutine’s Last Journey is ultimately an exploration of language and the power of art.

This novel by esteemed Swiss writer Max Frisch is an exploration of the question: “Why don’t we live when we know we’re here just this one time, just one single, unrepeatable time in this unutterably magnificent world?!” This outcry against the emptiness of ordinary everyday life uttered by the hero of Frisch’s book is countered by “an answer from the silence” he meets when face-to-face with death.When An Answer from the Silence begins, the protagonist has just turned thirty and is engaged to be married and about to start work as a teacher. Frightened by the idea of settling down, he journeys to the Alps in a do-or-die effort to climb the unclimbed North Ridge, and by doing so prove he is not ordinary. But having reached the top he returns not in triumph, but in frostbitten shock, having come dangerously close to death.This highly personal early novel reflects a crisis in Frisch’s own life, and perhaps because of this intimate connection, he refused to allow it to be included in his Collected Works in the 1970s. Now available in English, this distinctive book will thrill fans of Frisch’s other works.

Friedrich Dürrenmatt was one of the most important literary figures of the twentieth century, a talent on par with Samuel Beckett, Albert Camus, Jean-Paul Sartre, and Bertolt Brecht. A prolific writer of letters, poems, novels, and shorter fictions, his essays on literary forms as well as those on philosophy and politics provide a window onto his world and his work, demonstrating both his critical acumen and the breadth of his talents as a stylist.Gathered from throughout his long career, the writings featured in Dürrenmatt’s Selected Essays are by turns playful and polemical, poetic and provocative, mordantly comical and deadly serious. Critics have often been perplexed by Dürrenmatt’s sudden shifts—from stage to prose and back, from comedy to tragedy and vice versa, from writing to drawing. In this volume, the full range of his interests in arts and letters—and their relationships to each other—becomes evident. In one section, a cluster of essays on the theater illuminate his idiosyncratic dramaturgical theories, drawing on examples from Attic comedy to Schiller, Brecht, and professional wrestling. In another, his philosophical essays intermingle his passionate reflections on ethical and political questions with his skeptical forays into metaphysics. And in autobiographical pieces such as the monumental “Vallon de l’Ermitage,” Dürrenmatt offers an intimate look at his “web of time”—the places where he traveled and the people with whom he lived and worked.Suffused with melancholy, flashes of tenderness, and the author’s inimitable sense of the grotesque and absurd, these essays provide a compelling look at the author’s prodigious strength as a writer of nonfiction.

The day is Friday, May 22, 2032. On this day, the day after his ninety-fourth birthday, a man is sitting in a beautiful garden. It is a paradise where he often played during his childhood, and it is here that he is recording the story of his adventures with Mr. Adamson. In the course of this compelling novel from Swiss author Urs Widmer, this man narrates his unusual story to his granddaughter, Anni. While he recounts his life, he is also waiting—waiting for the arrival of this very Mr. Adamson, whom he has not seen since the age of eight. Even then it was a mysterious encounter—a glimpse into realms that normally remain concealed to the living. For Mr. Adamson died at the very moment when our narrator was born, and he will soon return to escort the ninety-four-year-old narrator into another paradise.Told with Urs Widmer’s signature humor, genius, and lively imagination, Mr Adamson is a superb story and a spellbinding book. With its vitality and zest for life, it manages to hold at bay that scandal we must all face in our lives: death.

Philippe Jaccottet’s newest work follows in some ways the approach of Seedtime, his recent two-volume collection of notebooks. Similarly comprising on-the-spot jottings, philosophical reflections, literary commentary, dream narratives and sundry “notes,” this book nonetheless differs from the preceding volumes in that the Swiss poet includes more personal material than ever before. Drawing on unpublished notebooks from the years 1952–2005, Jacottet offers here passages about his family, the death of his father-in-law and of his mother, his encounters with other major poets—such as René Char, Francis Ponge, Jean Tardieu, and his friends Yves Bonnefoy and André du Bouchet—and his trips abroad, as well as, characteristically, his walks in the countryside around the village of Grignan, in the south of France, where he has lived since 1953. For a poet who has been notoriously discreet about his life, this book offers unexpected glimpses of the private man. Above all, the entries in this notebook show how one of the greatest European poets grapples with the discouraging elements of existence, counterbalancing them by recording fleeting perceptions in which “something else,” almost like a threshold, seems present.

Writers’ notebooks sometimes prove more revelatory than diaries or intimate journals. At first they might appear to be rag-and-bone shops of ideas, insights, hesitations, doubts, and records of things seen, heard, read, dreamt. But eventually they coalesce into a labyrinthine map of the creative process. Swiss poet Philippe Jaccottet has faithfully kept notebooks for many decades, and the selections that make up the Seedtime volumes have retained a vividness of insight and discovery despite the passage of time. After all, as the poet himself says, his notebooks are “a collection of delicate seeds with which I try to replant my ‘spiritual forest.’”  Seedtime III, which brings this series to a close, records numerous fleeting thoughts, ephemeral experiences, and philosophical observations from a renowned poet well into his seventies, charting the single steps—sometimes forwards, sometimes back—taken in a lifelong attempt to transcend the limits of art. The inconclusive nature of the notebook entries, their tentativeness and lack of resolution, renders them as intriguing and evocative as some of Jaccottet’s best works. In them readers will find a life full of the kind of contemplation that attracts yet eludes most of us in our daily existence.

A new translation of one of the earliest volumes of Max Frisch's innovative notebooks. Throughout his life, the great Swiss playwright and novelist Max Frisch (1911-1991) kept a series of diaries, or sketchbooks, as they came to be known in English. First published in English translation in the 1970s, these sketchbooks played a major role in establishing Frisch as, according to the New York Times, "the most innovative, varied and hard-to-categorize of all major contemporary authors." His diaries, said the Times, "read like novels and his best novels are written like diaries." Now Seagull Books presents the first unabridged English translation of Sketchbooks, 1946-1949 in a new translation by Simon Pare. This edition reinstates material omitted from the 1977 edition, including a screenplay for an unmade film. In this first volume, which covers the years 1946 to 1949, Frisch chronicles the intellectual and material situation in postwar Europe from the vantage point of a citizen of a neutral, German-speaking country. His notes on travels to the scarred cities of Germany, to Austria, France, Italy, Prague, Wroclaw, and Warsaw paint a complex and stimulating picture of a continent emerging from the rubble as new fault lines are drawn between East and West. As Frisch completes his final architectural projects and garners early success as a writer, he reflects on theater, language, and writing, and he sketches the outlines of plays, including The Fire Raisers and Count OEderland. Whatever experience he chronicles in the sketchbook-whether it's a Bastille Day party, an Italian fish market, or a tightrope display amid the ruins of Frankfurt or an afternoon by Lake Zurich with Bertolt Brecht, to take just a few examples-his keen dramatist's eye immerses the reader in the setting while also probing the deeper significance and motivations underlying the scene. This new translation will serve to draw out the immediacy and contemporary quality of Frisch's observations from the shadow of his status as a classic author, bringing his work to life for a new audience.

Now in paperback, a haunting story of trauma, memory, and healing in post-Cold War Romania.Victoria has just recently moved from Zurich back to her hometown of Bucharest when the bank where she works is robbed. Put on leave so that she can process the trauma of the robbery, Victoria strolls around town. Each street triggers sudden visions as memories from her childhood under the Ceausescu regime begin to mix with the radically changed city and the strange world in which she now finds herself. As the walls of reality begin to crumble, Victoria and her former self cross paths with the bank robber and a rich cast of characters, weaving a vivid portrait of Romania and one woman’s self-discovery.  In her stunning second novel, Swiss-Romanian writer Dana Grigorcea paints a series of extraordinarily colorful pictures. With humor and wit, she describes a world full of myriad surprises where new and old cultures weave together—a world bursting with character and spirit.

A fresh translation of the second volume of Max Frisch’s diaries.By the time Swiss author Max Frisch published the second volume of his diaries or sketchbooks, he had achieved international recognition as a writer and dramatist. In this volume, he develops his version of the literary diary as a mosaic of musings on architecture and writing, travelogue, autobiography, and political insight. He considers Cold War tensions as well as the civil rights and anti–Vietnam War movements in the United States. Now middle-aged himself, he looks squarely at men’s evolving attitude to life, love, sex, women, and status. And for all the idyllic descriptions of his new home in Berzona, Frisch becomes increasingly critical of his native Switzerland, in particular the crackdowns on left-wingers and protestors, and receives abuse for his stance. Based on the second German edition that reinstated material that had been removed from the original 1972 version, this fresh and definitive translation brings an important mid-twentieth-century European classic back to life.

A hauntingly beautiful debut novel that interweaves grief, memory, and the mystical realm of an ancient forest through eighty-four poignant vignettes.Romansh poet Leta Semadeni’s debut novel, Tamangur, is a multifaceted gem that delves into the shadowed depths of a remote valley in the Engadin Alps. More than a setting, the ancient stone pine forest of Tamangur serves as a mystical realm, a Valhalla for hunters and their kin, where the living brush against the world of the dead.A richly woven narrative, Tamangur unfolds through eighty-four interlocking vignettes. We follow an unnamed young girl, referred to only as “the child,” and her grandmother as they navigate their shared grief. The loss of the girl’s beloved grandfather and younger brother casts a long shadow, with the child believing she is to blame for her brother’s death—a burden that has led her parents to abandon her. The small village they inhabit is populated by a cast of quirky characters: Elsa, who passionately loves the absent Elvis; a seamstress who steals others’ memories; a brooding chimney sweep; and a rude goat. Amidst the sorrow, these oddballs form a patchwork family, softening the harsh edges of fate with their peculiar charm.Semadeni’s prose is crystalline and evocative, blending the poignant with the absurd in a way that captures the heart and imagination. Tamangur is a haunting exploration of loss, memory, and the fragile connections that bind us.