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Featured titles
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Funeral Party, a novel by Ludmila Ulitskaya (1997)
Rights sold: Bulgaria - COLIBRI, China - Zhejiang Literature & Art, Croatia - VUKOVIC, Croatia – SYSPRINT, Denmark - GYLDENDAL, Estonia - TANAPAEV, Finland - TAMMI, France - GALLIMARD, Germany - VOLK UND WELT (LUCHTENHAND LUEBBE), Great Britain - VICTOR GOLLANZ (ORION MASS MARKET), Greece - EKDOSEIS KASTANIOTIS, Hungary - MAGVETO, Iran - Houpaa Books, Israel - HA KIBBUTZ, Italy - FRASSINELLI, Japan - Shinchosha, Korea - MARCO POLO, Macedonia - Publisher DOOEL, The Netherlands - DE GEUS, Portugal - RELOGIO D’AGUA, Romania - S.C HUMANITAS S.A, Slovakia - SLOVART, Spain - LUMEN RANDOM HOUSE, Sweden – BAZAR, ERSATZ, Turkey - ITHAKI, USA – SCHOCKEN, USA - KNOPF, World Arabic - AL MADA
August 1991. In a sweltering New York City apartment, a group of Russian émigrés gathers round the deathbed of an artist named Alik, a charismatic character beloved by them all,
especially the women who take turns nursing him as he fades from this world. Their reminiscences of the dying man and of their lives in Russia are punctuated by debates and squabbles: Whom did Alik love most? Should he be baptized before he dies, as his alcoholic wife, Nina, desperately wishes, or be reconciled to the faith of his birth by a rabbi who happens to be on hand? And what will be the meaning for them of the Yeltsin putsch, which is happening across the world in their long-lost Moscow but also right before their eyes on CNN?"A deft, economical portrait of an engaging set of characters whose behavior, though occasionally screwball, is never one-dimensional... Riotously funny—a quirky, tender
story..." (New York Times Book Review)
"…Smart and prickly book, one with echoes of Isaac Babel and Isaac Bashevis Singer and perhaps a dose of Samuel Beckett as well." (New York Times)
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"Beautiful, lyrical prose is the hallmark of this novel." (Library Journal) -
Confessions of a Young Novelist, 2011
Rights sold: Russia - Corpus, Estonia - Tanapaev,
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Umberto Eco published his first novel, The Name of the Rose, in 1980, when he was nearly fifty. In these “confessions,” the author, now in his late seventies, looks back on his long career as a theorist and his more recent work as a novelist, and explores their fruitful conjunction.
He begins by exploring the boundary between fiction and nonfiction—playfully, seriously, brilliantly roaming across this frontier. Good nonfiction, he believes, is crafted like a whodunnit, and a skilled novelist builds precisely detailed worlds through observation and research. Taking us on a tour of his own creative method, Eco recalls how he designed his fictional realms. He began with specific images, made choices of period, location, and voice, composed stories that would appeal to both sophisticated and popular readers. The blending of the real and the fictive extends to the inhabitants of such invented worlds. Why are we moved to tears by a character’s plight? In what sense do Anna Karenina, Gregor Samsa, and Leopold Bloom “exist”?
At once a medievalist, philosopher, and scholar of modern literature, Eco astonishes above all when he considers the pleasures of enumeration. He shows that the humble list, the potentially endless series, enables us to glimpse the infinite and approach the ineffable. This “young novelist” is a master who has wise things to impart about the art of fiction and the power of words.