In distilling a great deal of the mechanisms that make Duras one of the most important writers of European modernism, THE DARKROOM is an enlivening reminder of what the struggle of literature is for.
Lispector’s fiction pushes us to become apprentices of language itself, to find pleasure in the cadences of subjectivity, and to seek out how our articulations of desire and pain weave our reality.
In LATE SUMMER Ruffato uses the final days of an ordinary Brazilian man returned to the city of Cataguases to subtly confront the societal changes and inequalities in Brazil.
TERMINAL BOREDOM’s predictive nature is historically rooted and justified, finding form in the budding apathy of late Capitalism that was emerging when they were written.
Normally there is a safe distance between the reader and the work, however transgressive it is, whereas in Dustan’s writing the language is intimate, precise, explicit, pornographic even, and yet, ultimately, an attack on what is known as “Literature”.
In its satirical and often detached portrayal of fame, Kӓsebier Takes Berlin marks an intriguing departure from the intense psychological novels and moody literary montages of its era.