 |
|||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
|||||||||||
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Forthcoming Titles |
||
|
|
|
 |
||||
A Handbook for the Perfect Adventurer Generally known for authoring Quai des Brumes (the basis for Marcel Carné's celebrated 1938 film), the vastly undertranslated Pierre Mac Orlan was a prolific author of humorous stories, adventure tales, “spanking novels,” and a treasure trove of songs he composed on the accordion, made famous by the likes of Juliette Gréco. This little handbook is the kernel to his œuvre: a tongue-in-cheek guide to the needless perils of the active adventurer's life and the benefits to passive adventuring, with advice on reading, traveling, and eroticism. |
||||
|
|
|
|
|
 |
||||
The Conductor and Other Tales Screenwriter for such filmmakers as Luis Buñuel and Louis Malle, prominent member of the College of Pataphysics, and the first exegete of the work of Raymond Roussel, Jean Ferry also authored this single book of fiction, a collection of short stories that offer a blend of Kafkaesque parable, cruel humor, and surreal nightmare. |
||||
|
|
|
|
|
 |
||||
Death to Art and Other Writings The least-known but most radical of the Russian Futurists, Vasilisk Gnedov created a small body of work notable for its agressive absurdity and experimental range. His most famous poem—“The Poem of the End”—consisted of a blank page: an early precursor to Minimalism and a popular performance piece at The Stray Dog Cabaret. This collection includes translations of all of his published writings and a generous selection of his later output written after his release from the Soviet work camps in 1956. |
||||
|
|
|
|
|
 |
||||
Pybrac Quite possibly the filthiest book of poems ever written, Pybrac was first published posthumously in 1927 (in an edition of 105 copies), but Pierre Louÿs had worked on it in secret throughout his life. Its 313 mockingly moralistic quatrains represent just a fraction of the more than 2,000 that were purportedly scattered in manuscript form in auctions after his death; yet like all things erotic, what remains nonetheless conveys a sense of unending absurdity and hypnotic obsession. In turns amusing and offensive, Pybrac offers a taste of what the Marquis de Sade may have produced if he had ever turned his hand to verse. |
||||
|
|
|
|
|