A man murders a grocer over fifteen cents - but in the sharp, icy prose and detached tone that defines this collection, his crime seems neither sensational nor entirely reprehensible. Rosa Liksom populates a world of snow-covered landscapes, antiseptic apartments, fish factories, and lumber camps with the obsessive, the violent, and the unhinged. A woman refuses to leave prison until she has served her entire sentence. A man obsessively cleans his apartment as his life moves on around him. A woman kills her new husband over his neediness and inability to leave their bed. The stark lives and actions of these characters are infused with an emotional intimacy that draws the reader into uncomfortable empathy with the extremity of their deeds.
Wanting to escape a failed relationship, a young Finnish woman boards a train to travel from Moscow to Mongolia. Wanting to be alone, she chooses an empty compartment, but is soon joined by a former soldier who recounts explicit stories of his past.
In the waning years of the Soviet Union, a sad young Finnish woman boards a train in Moscow. Bound for Mongolia, she's trying to put as much space as possible between her and a broken relationship. Wanting to be alone, she chooses an empty compartment--No. 6.--but her solitude is soon shattered by the arrival of a fellow passenger: Vadim Nikolayevich Ivanov, a grizzled, opinionated, foul-mouthed former soldier. Vadim fills the compartment with his long and colorful stories, recounting in lurid detail his sexual conquests and violent fights. There is a hint of menace in the air, but initially the woman is not so much scared of or shocked by him as she is repulsed. She stands up to him, throwing a boot at his head. But though Vadim may be crude, he isn't cruel, and he shares with her the sausage and black bread and tea he's brought for the journey, coaxing the girl out of her silent gloom. As their train cuts slowly across thousands of miles of a wintry Russia, where "everything is in motion, snow, water, air, trees, clouds, wind, cities, villages, people and thoughts," a grudging kind of companionship grows between the two inhabitants of compartment No. 6. When they finally arrive in Ulan Bator, a series of starlit and sinister encounters bring Rosa Liksom's incantatory Compartment No. 6 to its powerful conclusion.
A bold, dark-hued novel by a writer who “conjures beauty from the ugliest of things” (The Wall Street Journal) In the final twilit moments of her life, an elderly woman looks back on her years in the thrall of fascism and Nazism. Both her authoritarian tendencies and her ecstatic engagement with the natural world are vividly and terrifyingly evoked in The Colonel’s Wife, an astonishing and brave novel that resonates painfully with our own strained political moment. At once complex and hideous, sexually liberated and sympathetic to the darkest of political movements, the narrator describes her childhood as the daughter of a member of the right-wing Finnish Whites before World War II, and the way she became involved with and eventually married the Colonel, who was thirty years her senior. During the war, he came and went as they fraternized with the Nazi elite and retreated together into the deepest northern wilds. As both the marriage and the war turn increasingly dark and destructive, Rosa Liksom renders a complex and unsavory character in a prose style that is striking in its paradoxical beauty. Based on a true story, The Colonel’s Wife is both a brilliant portrayal of an individual psychology and a stark warning about the perils of nationalism.
A bold, dark-hued novel by a writer who “conjures beauty from the ugliest of things” (The Wall Street Journal) In the final twilit moments of her life, an elderly woman looks back on her years in the thrall of fascism and Nazism. Both her authoritarian tendencies and her ecstatic engagement with the natural world are vividly and terrifyingly evoked in The Colonel’s Wife, an astonishing and brave novel that resonates painfully with our own strained political moment. At once complex and hideous, sexually liberated and sympathetic to the darkest of political movements, the narrator describes her childhood as the daughter of a member of the right-wing Finnish Whites before World War II, and the way she became involved with and eventually married the Colonel, who was thirty years her senior. During the war, he came and went as they fraternized with the Nazi elite and retreated together into the deepest northern wilds. As both the marriage and the war turn increasingly dark and destructive, Rosa Liksom renders a complex and unsavory character in a prose style that is striking in its paradoxical beauty. Based on a true story, The Colonel’s Wife is both a brilliant portrayal of an individual psychology and a stark warning about the perils of nationalism.
These two volumes comprise the first English translation and critical edition of the extant letters of the Neapolitan painter and satirist Salvator Rosa (1615-1673). Presented in a revised Italian transcription and a complete English translation, the letters are accompanied by extensive historical notes, a philological apparatus, a comprehensive index, appendices, and photographs of the manuscripts.
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