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      • Fiction

        Permagel/Permafrost

        by Eva Baltasar

        Published in Catalan (Club Editor).   Shortlisted for the Médicis Étranger Award 2020 (France).    Rights sold: World English (And Other Stories), French (Verdier), Spanish (Literatura Random House), Italian (Nottetempo), Portuguese/Portugal (Confluencias), Galician (Kalandraka).   The #1 Catalan bestseller and winner of the Llibreter booksellers prize, poet Baltasar’s debut novel is a forthright study of lesbian sexuality and suicide.   Permafrost’s no-bullshit lesbian narrator is an uninhibited lover and a wickedly funny observer of modern life. Desperate to get out of Barcelona, she goes to Brussels, ‘because a city whose symbol is a little boy pissing was a city I knew I would like’; as an au pair in Scotland, she develops a hatred of the colour green. And everywhere she goes, she tries to break out of the roles set for her by family and society, chasing escape wherever it can be found: love affairs, travel, thoughts of suicide.   Full of powerful, physical imagery, this prize-winning debut novel by acclaimed Catalan poet Eva Baltasar was a word-of-mouth hit in its own language. It is a breathtakingly forthright call for women’s freedom to embrace both pleasure and solitude, and speaks of the body, of sex, and of the self.

      • Fiction

        Boulder

        by Eva Baltasar

        Short, intense and full of dazzling images, Boulder is the story of a woman who wants to be alone. Life makes it very difficult for her and she betrays herself. After the successful Permagel/Permafrost, Eva Baltasar's second novel explores the contradictions of motherhood.   In 2018, Permagel/Permafrost became a 'must-read' thanks to an enthusiastic reception, although it did not have a great advertising campaign behind it. Written with functional prose, the book brought together the lesbian experience and the death wish with a touch of ironical rawness.   Translation rights of Permagel/Permafrost were acquired by Literatura Random House (World Spanish, already published), Verdier (France, publication Fall 2020), Nottetempo (Italy, already published), And Other Stories (World English, publication 2021), Kalandraka (Galician, to be published) andConfluencias (Portugal, to be published).   Two years later, Eva Baltasar (Barcelona, 1978) has published Boulder, the second novel of the triptych where Baltasar explores the voice, life and body of three women.   The book begins with the narrator in Chiloé (an island in Chile, in Patagonia), although she comes from a precarious situation in Barcelona. She flees the city and ends up embarking on a merchant ship and decides to stay there as a cook.   One day, when the ship is docked, the protagonist/narrator - nameless throughout the novel - falls in love with Samsa, an Icelandic geologist who ends up taking her to her island and who will call her Boulder. Driven by desire and what she assumes to be love, she leaves the ocean and her work on the ship, to move to land and start a typical life that she does not know if she will get used to. We will accompany Boulder on her journey to the common things: a house, a woman, and a daughter. The normality of a life from which she doesn’t know what to expect.   In Iceland Boulder and Samsa will live a more or less conventional life as a couple, but the protagonist will always keep an eye on her old life of isolation in the sea. When, after a few years in Iceland, Samsa tells Boulder that she wants to be a mother we already know that things will not go well because the protagonist has already warned us: "I am not a children person."   The protagonist's happiness is based on not feeling responsible for anything or anyone, not hurting anyone and making her life. As Eva Baltasar puts it, “loneliness can be hard, but it also frees you up." Boulder explores other major themes that we could also read in Permagel/Permafrost, such as motherhood and living as a couple, which can enrich you but also end up diluting you in that couple.   Through this relationship Eva Baltasar addresses issues such as couple relationships, and how these change before the arrival of motherhood. The author manages to give a twist to this topic and shows us a totally different perspective of motherhood from the one we are used to. It teaches us that there is another reality, another way of seeing it beyond that beautiful and happy stage that we have always been told. It also tells us about sexuality and how desire within a couple is transformed over the years, in a direct and taboo-free way.   The landscape is also very important in Boulder: desolate landscapes like the ones we find in Chiloé, the ocean or Iceland. It is those open spaces with few people around that the protagonist likes.   To say Eva Baltasar is also to speak of an elaborate, poetic language which makes the story slide smoothly. Boulder also reflects on this, because “language stakes us when we are born and shapes us, governs our cells.” Baltasar thinks that the way we speak also “builds us as people and sometimes we are not aware of it.”

      • Fiction

        The Loathsome

        by Santiago Lorenzo

        Los asquerosos (The Loathsome)A novel by Santiago LorenzoBlackie Books, Barcelona, 2018 - 220 ppLanguage: SpanishRights Sold: French (Seuil), Italian (Blackie), German (Heyne Hardcore), Portuguese, excl Brazil (Gradiva), Chinese complex (ACME Publishing).    The novel is about Manuel, a young man in his early 20s who lives (or survives) in Madrid during the worst years of the crisis. He has recently left his parents’ home and rents a microscopic space, without even an actual contract. He gets very bad, and poorly paid, temporal jobs and is worried about his lack of success in making friends. In fact he has none, except an uncle of him who is in his late forties and also a lonely man. But Manuel has always been very good at doing things with his hands and always carries a screw driver with him.   After an unexpected incident in which he harms a police officer in the neck with the screw driver (he believes he has killed the policeman and fears he will end up in jail), he runs to his uncle’s home and they decide he will take his car and quickly escape from the city. He needs to disappear completely. After hours driving he finds an abandoned little village in the middle of nowhere. It’s a very rural area, and it looks like the village has been abandoned for decades. He picks up one of the houses and takes shelter there. The house has no electricity, no water, nothing...At the village, he only receives help from his uncle in Madrid (who is the narrator of the book).   They are in touch only via an old (non-smart) phone and they devise a plan so that he receives food from a supermarket once a month. The uncle is also very short of money and they will have to ration Manuel's (very) little savings. The deliverer is instructed to leave the bags in front of the house and leave, they tell the supermarket that someone will pick up the bags later.   While Manuel is learning to live by his own and adapt to his new circumstances, he reads paperback books that were left in the house. He starts to enjoy this life of isolation, being without documents, no job, no bosses and just paying attention to he passing of time. He knows nothing about nature and can’t distinguish a pine from an oak tree.   At this point, the novel might bring memories of Thoreau or of Robinson Crusoe but what makes the novel exceptional is the brilliant prose of the author and the irony that the guy lands in the middle of nature not because of his choice (he is not a modern lover of rural life) but because of the accident with the police. Despite this forced isolation, little by little he starts enjoying being on his own, with no human contact at all. He does things, recollects wood, repairs stuff, takes long walks and ultimately realizes that he never really wanted to make friends, that he shouldn’t have fought his life-long instincts of being alone because now, for the first time, he starts feeling well with himself. He starts to eat plants he has at hand. He discovers a plum tree, a vine that gives him grapes… And the months pass by happily. He has stopped to need things and doesn’t even think about being hunted by the police. Manuel discovers his true self, and in the process he also discovers that he needs almost nothing of what enslaves the rest of us, caught between frustration, hypnosis and fraud.   But one day a woman arrives and rents the adjacent house. She will use it as a weekend house for her family. Fortunately, she doesn’t see him. This breaks all the fragile balance and harmony but, so far, he only needs to hide from the newcomers during weekends. However, as weeks pass by he starts feeling very upset by the presence of these people, even if only for a couple of days. They don’t understand anything about being in the nature, they are noisy and walk around with their phones, their city clothes… they become The Nasties. And, ironically, the nasties here become ourselves. Readers realize how, probably, they would act exactly as the newcomers do. People who instead of looking at the sky to see if it’s cloudy will look at their phones to check the weather. People who will install a little gym at home to keep fit, instead of doing physical activities in the woods. People who will do whatever to prevent nature entering into their country home…   Manuel devises a plan to get rid of them and, in a few very funny scenes, breaks into the house during the week and sabotages many of the house’s comodities in a somehow childish hope that they will not come again. The novel, here, gets very intriguing (almost thriller like as we fear Manuel will be found out).   And the inevitable happens and for some reason, the nasties come back to the village during the week, on the wrong day, and Manuel does not realize they are there. They hear noise in Manuel’s house (he’s chopping wood) and are curious about it. They open one door and find him here, so completely unprepared that he chops his own leg with the axe. He can’t run away, he has been caught.   Manuel’s idyllic life abruptly comes to an end and he is taken to hospital, where he is sure that sooner or later police will break into his room and arrest him… but to our surprise none of this happens. After some days he feels confident and pays a visit to Madrid. He goes into a bank, into a government office, identifies himself but nothing happens either… It looks like no one cares about his identity.   After some research, the uncle finds out that the cop wasn´t killed at the incident with the screw driver, but that he was killed some time afterwards by another cop and that the police stopped looking for the guy who had harmed him with the screw driver as they never had any clues to follow. Ironically, Manuel was never looked for by the police. He might have stayed in Madrid, he didn’t need to escape in a hurry. But in the meantime the house of the nasties has been burned to the grounds because of one of his sabotages, and as he was away from the village no one suspects him. The nasties see it as a tragedy caused by themselves (they might have forgotten to switch off a boiler) and decide to abandon the house forever…   After this unexpected twist, Manuel realizes he can go back to the village and that he will be there alone again… He can go back to his life away from the mainstream, away from the need of buying and possessing things. In fact he has no desire at all to go back to his life before the incident with the police officer.

      • Fiction

        Sweet Introduction to Chaos

        by Marta Orriols

        Sweet Introduction to Caos, by Marta Orriols Full tex available in Catalan and Spanish German Rights sold to DTV   What happens to the pain that arises from a feeling that we didn't even know we harbored? What about the silence that is created around a desire that we cannot share and that we can only repress? Marta and Daniel have recently been a couple and react differently to the news of an unexpected pregnancy. For a week they will feel lost, walking in a limbo of doubts and indecisions that will make them rethink themselves as individuals and as a couple. In a world obsessed with resolutions, this story does not admit polarities and forces us to flee from mere black and white debates. And to stop and closely look at nuances and uncertainties. An invitation to swim in the sea of contradictions that the possibility of fatherhood and motherhood becomes. The will, instinct, freedom, social and political structures that affect our privacy are questioned here by the gaze of a man and a woman and the masterly skill of Marta Orriols when it comes to dissect intimacy and emotions.

      • Fiction

        Learning to Talk to Plants

        by Marta Orriols

        “Aprendre a parlar amb les plantes” (Learning to Talk to Plants)by Marta Orriols – Debut novel (Literary/Upmarket) Original publisher/language: Ed. del Periscopi (Catalan, 2018)  Rights sold: Lumen (Spanish), Seuil (French), Ponte alle Grazie (Italian), DTV (German), Hakursa/9Lives (Hebrew), Prometheus (Dutch), Sonia Draga (Polish), Dom Quixote (Portuguese, excl Brazil), Pushkin Press (World English), United Sky (Simplified Chinese), Kastaniotis (Greece).   Paula, the narrator and main character, is 40 years old, she’s a neonatologist and she is alive. But her life-long boyfriend Mauro suddenly died in an accident. In the first pages of the novel, we are astonished by the intensity and the precision with which the narrator tells about losing a partner all of a sudden and how, before the accident, death was something so far away from them.    But after a few pages, when we feel we are reading a very good novel about mourning a loved one, a very unexpected revelation comes to light: Only a few hours before he dies, Mauro tells Paula that he is in love with another woman and that their relationship has come to an end. It is at this point when the novel becomes something new, original, powerful and different.   This unexpected death and the previous revelation leave Paula astonished and completely lost. The reader will witness how she walks a path that will confront her with her feelings of rage, fear, desire, grieve and the need to survive and reconstruct herself.   Deeply moving and surprising, Learning to Talk to Plants is a delicate and intimate novel written from the point of view of a woman who needs to come to terms with a life she can no longer recognize.

      • Fiction

        The Shortcut

        by Miquel Martín

        Published by Edicions del Periscopi (Catalan) English sample available   La drecera (The Shortcut), by Miquel Martín, has been the big surprise of the summer season. Published at the end of June it has been selling more and more since then and now it’s been in Catalan Bestsellers lists for weeks. This is a short novel about the passage from childhood to youth of the son of the housekeepers of a rich family that owns a large summer house in the region of Empordà (which might ring a bell because it is also the setting of Milena Busquets’s successful novel This Too Shall Pass).  In The Shortcut we see the evolution of this boy of 10, who still does not know anything about social boundaries and the scars that life leaves on adults, and who finishes the novel, at 13 or 14, having discovered some of the secrets, joys, wonders and resignations of the adult world.

      • Fiction

        Catch the Rabbit

        by Lana Bastašić

        Uhvati zeca (Catch the Rabbit), by Lana Bastašić – Literary fiction European Union Prize for Literature 2020   Original language/Publisher: Kontrast Publishers (Serbia) Foreign rights sold: Ed. Nutrimenti (Italian), Picador (UK & Commonwealth) Restless Books (USA & Canada), Actes Sud (France), Fischer (Germany), Meulenhoff (The Netherlands), Navona (Spanish), Edicions del Periscopi (Catalan), Metropolis Media (Hungary), Perseus (Bulgaria), Eksmo (Russia), Ilksatir (Turkey), Sanje (Slovenia). Full English translation available     Catch the Rabbit is a story about two Bosnian young women and their complicated friendship. Twelve years after they last saw each other, Sara (who has been living in Dublin all these years) receives a phone call from Lejla (her closest friend from childhood) in which Lejla asks Sara to fly to Mostar and help her go on a road trip from Mostar to Vienna in order to find Armin, Lejla's long lost brother. Sara is reluctant to go as she has managed to build a new life in Ireland, away from the ghosts and horrors of the past. But something within her knows she will end up taking a plane…    The journey would prove to be much more than an innocuous reconnecting of old school friends: it is a road to a deeply balkanized "heart of darkness," where Lejla's life was reshaped by strict identity politics and her sense of self was lost together with a single letter from her name. Growing up in a Serbian family, Sara has had all the privileges denied to her best friend and has managed to repress her guilt together with her mother tongue. Now, years later, she has to go down the "rabbit hole" of her language and bear the Colridgean burden of telling the story over and over again. But being the one who tells the story is yet another privilege and Lejla will fight for it until the very last sentence, which will only take them back to the beginning.     Teresa Pütz, acquiring editor at Fischer Verlag (Germany) says about the novel: "I really enjoyed reading this thoughtful and quietly devastating novel about the friendship between two women. The book is rich with memorable scenes and the plot-line of their road trip from Mostar to Vienna propels the narrative along in a tangible way. I think Lana is a talent with a promising writing career on the horizon."     Paloma Sánchez (senior publisher) and Sterre Houweling (editor) from Meulenhoff (Netherlands) say about the novel: “An excellent novel that is as captivating as it is impressive in style and has occupied our minds and conversations at the publishing house now for days. We literally can’t stop talking about how much we loved Uhvati Zeca/Catch the Rabbit. We especially love the very thoughtful portrayal of a confused relationship amongst friends and the protagonist’s own past as well as a very plot driven story. You want to read on and on. It is this combination that captures for us the essence of storytelling.”     Ansa Khan, acquiring editor at Picador (UK), says about the novel: “I loved this brilliant, funny, moving novel. There is something immediately recognizable and affecting about the relationship between these two women; Lana Bastašić is so good on formative female friendship, and excellent on how we put our friends on pedestals and then are surprised when they fall off. The ending is a heart-breaking picture of how indelibly we’re marked by the loss of someone we love. I also found it a striking insight into how the traumas of war – in this case in the former Yugoslavia – echo down the years.”

      • Fiction

        Oldladyvoice

        by Elisa Victoria

        Vozdevieja (grown-up-voice), by Elisa Victoria Blackie Books (Spanish), February 2019 – 256s pp. Rights sold: And Other Stories (World English), Skarifima Editions (Greece).     In Vozdevieja, her first novel, the Sevillian writer Elisa Victoria (1985) looks at illness, sex or the passage of time from the eyes of a nine-year-old girl. A unique, tender and hilarious new voice. This is the story of Marina, a nine-year-old girl who sails through the long summer of Seville and her own uncertainties, with a capacity for expression and analysis that some adults ara far from reaching. At school they call her Vozdevieja (something we could translate as Oldladyvoice).     Elisa Victoria has managed to tell the terrible and wonderful dispersion of childhood. Marina, the protagonist, is at that point where kids start to dicover perversity without having lost the innocence or the need of protection, and the result of that salad of secrets, doubts and whims is a first great book.     It’s a very long and hot summer in Seville, in the 1990s. Marina doesn’t know if she wants everything to change or to stay the same. Because she still plays with dolls but she already noses around adult magazines. Because her mother is sick and she already imagines herself in a convent surrounded by orphans. Because everyone, also his father, insists on disappearing. Because her best friend is her grandmother, who cooks for her, combs her hair, tells her love for Felipe González, teaches her new nasty words and sews flower dresses for her.   Still, Marina is always hungry: for life, and for breaded steaks. Elisa Victoria has built an authentic and living protagonist and has let her fly through the pages of this book, a hilarious novel that exudes impudence and intimacy.   Telling things from a child's perspective isn’t an easy task, but when a narrator has found the right tone and athmosphere it has provided great milestones. This novel by Elisa Victoria has to be joyfully recorded joyfully as one.

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