Bøger udgivet af Charco Press

In Catching Fire, the translation of Diamela Eltit's Never Did the Fire unfolds in real time as a conversation between works of art, illuminating both in the process. The problems and pleasures of conveying literature into another language-what happens when you meet a pun? a double entendre?-are met by translator Daniel Hahn's humor, deftness, and deep appreciation for what sets Eltit's work apart, and his evolving understanding of what this particular novel is trying to do.

The mysteries of kinship (families born into and families made) take disconcerting and familiar shapes in these refreshingly frank short stories. A family is haunted by a beast that splatters fruit against its walls every night, another undergoes a near-collision with a bus on the way home from the beach. Mothers are cold, fathers are absent-we know these moments in the abstract, but Adaui makes each as uncanny as our own lives: close but not yet understood.

The coming of age story of an award-winning translator, Homesick is about learning to love language in its many forms, healing through words and the promises and perils of empathy and sisterhood.Sisters Amy and Zoe grow up in Oklahoma where they are homeschooled for an unexpected reason: Zoe suffers from debilitating and mysterious seizures, spending her childhood in hospitals as she undergoes surgeries. Meanwhile, Amy flourishes intellectually, showing an innate ability to glean a world beyond the troubles in her home life, exploring that world through languages first. Amy's first love appears in the form of her Russian tutor Sasha, but when she enters university at the age of 15 her life changes drastically and with tragic results."e;Croft moves quickly between powerful scenes that made me think about my own sisters. I love how the language displays a child's consciousness. A haunting accomplishment."e; Kali Fajardo-Anstine

The third and final installment of Ariana Harwicz's "e;Involuntary Trilogy"e; finds us on familiar, disquieting ground. Under the spell of a mother's madness, the French countryside transforms into a dreamscape of interconnected imagery: animals, desire, the functions of the body. Most troublingly: the comfort of a teenage son. Scorning the bourgeois mores and conventionality of their small town, she withdraws him from school and the two embark on ever more antisocial and dangerous behavior. Harwicz is at her best here, building an interior world so robust, and so grotesque, that it eclipses our shared reality. Savage, and savagely funny, she leaves us singed, if not scorched.

"e;Era como si hubieramos alcanzado el punto critico minimo de una curva matematica. Tiene presente una parabola? El cero de abajo, el hueco, el abismo. Hasta ahi llegamos."e;Corre el ano 1993. Cuba esta en lo mas algido del Periodo Especial, un profunda crisis economica tras el colapso del bloque sovietico.Para Julia, una profesora de matematica que detesta ensenar, La Habana esta en su ano cero: el punto mas bajo, camino a ninguna parte. Desesperada por tomar las riendas de su vida, Julia se une a Euclides, su colega y ex amante, para emprender la busqueda del documento que compruebe que el telefono fue inventado por Antonio Meucci, en La Habana. Creen que esta es la respuesta para proteger su reputacion y darle a Cuba un nuevo proposito.A partir de este punto cero, Julia da inicio a una investigacion que la acercara a dos hombres que prometen guiarla hasta el documento, y que la vera involucrada en un enredado misterio de pasion, legados familiares y las complejidades de como la gente encuentra maneras de sobrevivir en un pais que vive la mas terrible de sus crisis. "e;It was as if we'd reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That's how low we sank."e;_The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc. __For Julia, a mathematics lecturer who hates teaching, Havana is at Year Zero: the lowest possible point, going nowhere. Desperate to seize control of her life, Julia teams up with her colleague and former lover, Euclid, to seek out a document that proves the telephone was invented by Antonio Meucci in Havana, convinced it is the answer to secure their reputations and give Cuba a purpose once more. _From this point zero, Julia sets out on an investigation to befriend two men who could help lead to the document's whereabouts, and must pick apart a tangled mystery of sex, family legacies and the intricacies of how people find ways to survive in a country at its lowest ebb.It was as if we'd reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That's how low we sank.The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc.For Julia, a mathematics lecturer who hates teaching, this is Year Zero: the lowest possible point. But a way out appears: the search for a missing document that will prove the telephone was invented in Havana, secure her reputation, and give Cuba a purpose once more. What begins as an investigation into scientific history becomes a tangle of sex, friendship, family legacies, and the intricacies of how people find ways to survive in a country at its lowest ebb.

En un apartamento en ruinas, en una ciudad uruguaya sin nombre, un padre y su hija se encierran y se aislan del mundo exterior. "e;El mundo es esta casa"e;, dice Clara. La azotea se vuelve su ultimo y unico acceso a la libertad. Hay un solo testigo: el canario.A medida que los vinculos de Clara con el afuera se van extinguiendo -la vecina que deja de venir, el novio cuya existencia es aparente solo a traves de un embarazo-, la desesperacion y la paranoia van tomando protagonismo. Es un abrazo que asfixia, y nosotros estamos aqui con ella, nuestra narradora, aterrados ante lo que trae el devenir._In a rundown apartment building, in an unnamed city in Uruguay, a father and daughter close themselves off from the world. 'The world is this house', says Clara, and the rooftop becomes their last recess of freedom. A pet canary is their only witness. _As Clara's connection to the outside is stripped away-the neighbor who stops coming by, the lover whose existence is only known by a pregnancy-desperation and paranoia take hold. It's a stifling embrace, and we are there with her, our narrator, dreading what we know the future holds.In a rundown apartment building, in an unnamed city in Uruguay, a father and daughter close themselves off from the world. 'The world is this house', says Clara, and the rooftop becomes their last recess of freedom. A pet canary is their only witness. As Clara's connection to the outside is stripped away-the neighbor who stops coming by, the lover whose existence is only known by a pregnancy-desperation and paranoia take hold. It's a stifling embrace, and we are there with her, our narrator, dreading what we know the future holds.

Two young men, Pajaro Tamai and Marciano Miranda, are dying in a deserted amusement park. The story begins almost at its end, just after the two main characters have faced off in a knife fight: the culmination of a rivalry that has pitted them against one another since childhood. The present in Brickmakers is a state of impending death, at moments marked by dream-like visions: Marciano is visited by the ghost of his father, who was murdered when he was a teenager, a father he had sworn to avenge, in a promise he could not keep. Pajaro is also visited, in a recurring nightmare, by his abusive father who disappeared years earlier.Narrated with fury and passion, reminiscent of William Faulkner or Katherine Anne Porter, Brickmakers is a rural tragedy in the great American tradition, a story of love, honour and violence where everything is at stake. Reprising the powerful imagery and the filmic landscape of The Wind That Lays Waste, and the threatening atmosphere of Dead Girls, Brickmakers is yet another proof of Almada's extraordinary talent.

"e;a story's existence, even if not well defined or well assigned, even if only in its formative stage, just barely latent, emits vague but urgent emanations."e;Byobu's every interaction trembles with possibility and faint menace. A crack in the walls of his house, marring it forever, means he must burn it down. A stoplight asks what the value of obedience is, what hopefulness it contains, and what insensible anarchy it defies. In brief episodes, aphorisms, and moments of spiritual turbulence and gentle scrutiny, reside a wealth of habits, worries, curiosities, pleasures, peculiarities, and efforts to understand.Representative of the modesty and complexity of Ida Vitale's poetic universe, Byobu flushes the world with meaning and playfully offers another way of inhabiting the every day.

We begin where we end: what happened in this rundown apartment, closed off from the world?

"e;This is one beautiful book."e;-Mia CoutoKnown and celebrated in Brazil and abroad for his novel Resistance, Julian Fuks returns to his auto-fictional alter ego Sebastian in a narrative alternating between the writer's conversations with refugees occupying a building in downtown Sao Paulo, his father's sickness, and his wife's pregnancy. With impeccable prose, the author builds associations that go beyond the obvious, not only between glimpsing a life's beginning and end, but also between the building's occupation and his wife's pregnancy - showcasing the various forms of occupation while exposing the frailty of life, the risk of solitude and the brutality of not belonging.

It was as if we'd reached the minimum critical point of a mathematical curve. Imagine a parabola. Zero point down, at the bottom of an abyss. That's how low we sank.The year is 1993. Cuba is at the height of the Special Period, a widespread economic crisis following the collapse of the Soviet bloc.For Julia, a mathematics lecturer who hates teaching, this is Year Zero: the lowest possible point. But a way out appears: the search for a missing document that will prove the telephone was invented in Havana, secure her reputation, and give Cuba a purpose once more. What begins as an investigation into scientific history becomes a tangle of sex, friendship, family legacies, and the intricacies of how people find ways to survive in a country at its lowest ebb.

In his second novel, Daniel Saldana Paris has created a bone chilling, exact portrait of a hypersensitive childhood that must torture and repeat itself in the mind of the protagonist.

Sagasti narrates for us a thousand and one stories centre around music that take the reader from Bach to Gould, from Gould to the Beatles, from Sergeant Pepper to the music that was played in Nazi concentration camps, and so on.. But when do we end a story? When do we decide to sing the final lullaby?

Lucia and Pablo are a couple, school teachers who left Colombia to make a living in the US. While Pablo keeps fond memories of his motherland and a close relationship with his family, Lucia rejects all notions of patriotism and nostalgia. After struggling to conceive for a long time, Lucia finally gets pregnant with twins - but shuts Pablo out.

This is a story narrated from the point of view of a nine-year old girl, called Tamara, who takes in the intricacies of the survival strategies of the world she inherits, marked by poverty, unspeakable trauma, and inescapable scenarios.