Bøger udgivet af SUNDIAL HOUSE

Luisa Etxenike's Crossing Waters depicts a Colombian woman and her son finding their way in the Spanish Basque country.

Through mixed media, The Company tells the story of a mining company's arrival in a small town and the terrorizing of its inhabitants.

When fate sends Dr. Francesca Johnson-DeWitt to Ohio Falls, her college nemesis, the smug Dr. Sebastian Bing, rekindles an old rivalry that turns the small town's Christmas upside down.

Sundial House is proud to present a stellar collection of poetry and prose by contemporary Latin American voices. The selected pieces have been thoughtfully translated from Spanish into English by renowned literary translators, ensuring that the essence and beauty of the original excerpts shine through. Constellation: Latin American Voices in Translation features contributions by: Santiago Acosta, translated by Tiffany Troy; Manuel Arduino Pavón, translated by Sara Lissa Paulson; Ansilta Grizas, translated by Jenny Burton; Ramón Hondal, translated by Elena Lahr-Vivaz; Mónica Lavín, translated by D.P. Snyder; and Mercedes Roffé, translated by Lucina Schell.

The Book of Conjurations, Irizelma Robles's fourth poetry collection, transforms poet, reader and language through its conjurations. Among these pages, we find all forms of material existence transmuted. Barbwire, rain, soul, sugarcane, scream are all raw materials for alchemy, or poetry. Drawing from the periodic table, precious and semi-precious stones, minerals, rocks, the elements, flora and fauna from Puerto Rico, the Caribbean and Latin America, and her memories, Robles creates an alternate cosmogony that neither rejects nor unquestioningly accepts Western medical discourse, nor offers up one of many parallel traditions and bodies of knowledge. These poems are written to conjure another life out of this one, a way forward despite and with the poet's neurodivergence, sadness, depression, and anxiety. Irizelma imagines herself as the poet-alchemist in order to conjure another self in that poetic voice, one that not only survived these hospitalizations, but that found metaphor, imagen, and poetic figure in the basest of elements. It is also a voice that found gold to be as useless as it was for all who sought it, a tool of power that ultimately became dead weight in her search for a way out.

Intimate conversations, soliloquies, patches of burned diaries, existential definitions of beauty, pain, or personal discovery come together in Music for Bamboo Strings. A subtle tapestry of music imbues the story and cinematography of each poem. This bilingual collection by Cuban-American poet Carlos Pintado has been masterfully translated by Lawrence Schimel, a recipient of the 2023 Sundial Literary Translation Award. Música para cuerdas de bambú / Music for Bamboo Strings is a lyric journey through several cultures and themes: a reinterpretation of Kawabata's Snow Country or Vincent van Gogh's Wheatfields with Crows, for instance. These poems also evoke Pintado's quieter moments, while he's subdued by flickering flames in the small hours or captivated by a fleeting face in a crowd. Music for Bamboo Strings is a territory of fear and beauty that wonders what may be revealed through poetry and plots an emotional cartography of paths that might be followed.

Gabriela Mistral was the first Latin American to receive the Nobel Prize in Literature, which she was awarded in 1945. Mistral has fascinated scholars, writers, and artists, who have tried to piece together the variegated layers of her persona and her "emotionally outspoken verses," as Langston Hughes described them. Sundial House's centenary edition commemorates Mistral's debut anthology, Desolación (1922), edited by Federico de Onís at Columbia University. This bilingual edition, featuring 37 poems translated by Langston Hughes, breathes new life into the Mistral's first anthology and makes available in English an intimate portrait of an ardent observer of life. Desolación is an evocative collection of poems and haunting poetic prose that explore desire, grief, motherhood, childhood, nature, and spirituality with radical sensibility.

In the Name of Desire, first published in Portuguese in the 1980s, is one of the most important Brazilian gay novels. It traces the remembrances of a man who returns to the seminary where he studied as a child. This visit, thirty years after his sudden departure, evokes stirring memories of his time there: his first love, nascent homosexual desire, the metaphorical agony of Catholic rituals, and the physical harm inflicted by peers and priests alike. As he revisits the halls, his memory wanders throughout the seminary, creating a narrative both liturgical and profane.

Claudia Ulloa Donoso is an expert at writing gently alienated characters. Sometimes, their dislocation is the result of geography. Occasionally, it stems from their social conditions: consider "Alarm," in which every sound and moment is skewed by the narrator's terror of her abusive partner, or "The Transfiguration of Melina," whose religious teenage heroine starts the story detached from her sexuality, and ends it anything but. More often, though, Claudia's characters are simply Martians: their perspective on the world is singular, whether they want it to be or not.