Take it with you to any cafe in any city, and Perec will be both your drinking partner and your tour guide, drawing your attention to each little detail coming and going. -Ian Klaus, CityLab

One overcast weekend in October 1974, Georges Perec set out in quest of the infraordinary the humdrum, the non-event, the everyday--what happens, as he put it, when nothing happens. His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision: the people walking by; the buses and driving-school cars caught in their routes; the pigeons moving suddenly en masse; a wedding (and then a funeral) at the church in the center of the square; the signs, symbols and slogans littering everything; and the darkness that finally absorbs it all. In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin.

An updated, expanded edition of Remedios Varo's translated writings, including pieces never before published in any language

With the 2018 publication of Letters, Dreams, and Other Writings, Wakefield Press introduced the writings of Surrealist painter Remedios Varo into English for the first time. These texts, never published during her lifetime, present something of a missing chapter, and offer the same qualities to be found in her visual work: an engagement with mysticism and magic, a breakdown of the border between the everyday and the marvelous, a love of mischief and an ongoing meditation on escape in all its forms. This new, expanded volume brings together the painter's collected writings, an unpublished interview, letters to friends and acquaintances, dream accounts, notes for unrealized projects, a project for a theater piece, whimsical recipes for controlled dreaming, exercises in Surrealist automatic writing and prose-poem commentaries on her paintings. It also includes her longest manuscript, the pseudoscientific On Homo rodans an absurdist study of the wheeled predecessor to Homo sapiens (the skeleton of which Varo had built out of chicken bones). Written by the invented anthropologist Hälikcio von Fuhrängschmidt, the essay utilizes eccentric Latin and a tongue-in-cheek pompous discourse to explain the origins of the first umbrella and in what ways Myths are merely corrupted Myrtles. Also included are newly discovered writings, including three short stories, never before published in any language.
Remedios Varo (1908-63) was a Surrealist painter who worked in Spain, France and Mexico. Her paintings were influenced by Old Masters such as Bosch and El Greco, as well as Jungian philosophy and occult writings. While living in Mexico she became close friends with fellow Surrealist Leonora Carrington.

The 1950s. Boring?

Hardly.

An influx of European refugees, stirrings of feminism, and the threat of a third world war were remaking Australia. As the Cold War chilled, inside a Melbourne house a young girl was caught in the crossfire of domestic conflict amid the clashing political and social values of her autocratic grandmother, her self-denying mother, and her glamorous aunt; three women who presented very different models of womanhood.

A captivating exercise in intriguing symbolism. --John Taylor, Times Literary Supplement

When Jean Maleux, a young sailor, is appointed assistant keeper of the Ar-Men lighthouse off the coast of Brittany, he is drawn into a dark world of physical peril, sexual obsession and necrophilia. The lighthouse is home to the eccentric, embittered keeper Mathurin Barnabas: an irascible and grizzled old man who appears to be more animal than human.
Time passes in alternating stages of mind-numbing monotony and bouts of horror as our hero struggles against the endless assaults of wind and loneliness, with only his duties and his mute companion for distraction. The sea evolves into a wild force and the lighthouse itself into a monster that Jean must tame if he is to survive. First published in French in 1899 and never before translated, The Tower of Love will be of keen interest to readers of Decadent, Symbolist and Romantic horror fiction.
Rachilde was the pen name of Marguerite Vallette-Eymery (1860-1953). She was the only female writer for the literary journal Le decadent.
Melanie C. Hawthorne is a professor in the Department of Global Languages & Cultures at Texas A&M University. She is the translator of Rachilde's novels The Juggler and Monsieur Vénus.

A collection of ethereal stories from the last of the great Francophone Belgian fantasists

Jean Ray brilliantly upends the haunted-house tradition in this widely acclaimed puzzlebox of a novel

A reinvention of the Gothic novel and an established classic of fantastic literature, Malpertuis is as inventive and gripping today as when it first appeared in French in the dark year of 1943.

Malpertuis is a puzzle box of nested narratives wrested from a set of manuscripts stolen from a monastery. A bizarre collection of distrustful relatives has gathered together in the ancient stone mansion of a sea-trading dynasty for the impending death of the occult scientist, Uncle Cassave, and the reading of his will. Forced to dwell together for the remainder of their lives within the stifling walls of Malpertuis for the sake of a cursed inheritance, their banal existence gradually gives way to love affairs and secret plots, as the building slowly exposes a malevolence that eventually leads to a series of ghastly deaths.

The eccentric personalities it houses--which include an obsessive taxidermist, a hypochondriac, a trio of vengeful sisters and a former paint store manager who has gone mad--begin to shed like skins to reveal yet another hidden story buried in the novel's structure, one that turns the haunted-house tradition on its head and culminates in an apocalyptic denouement.

Jean Ray (1887-1964) is the best known of the multiple pseudonyms of Raymundus Joannes Maria de Kremer, a pivotal figure in the Belgian School of the Strange, who authored some 6,500 texts in his lifetime.

A truly mind-bending novel from an author prized for his experimental fusions of nouveau roman techniques and Oulipian constraints

An editor at a Parisian publishing house receives a manuscript by someone calling himself Desiderio--a manuscript that bears an eerie resemblance to his own life and to a book he was planning to write on a Renaissance painter of the same name. He decides to use his vacation time to visit the place from which it was sent--the quaint, historical seaside town of V.--and believes he has identified the author: one Jean Morelle, himself a tourist, who disappeared the very day the manuscript was mailed. The narrator decides to play amateur detective and track down Morelle, unaware that as he becomes more deeply enmeshed in the mystery, the streets of V. will bend around him like a Möbius strip to form a loop that seems to offer no escape.
A portrait of obsession, Vacated Landscape is both ingeniously fractal and exuberantly byzantine. It is the first novel of Jean Lahougue's to be translated into English.
Jean Lahougue (born 1945) is a French novelist. A lifelong Agatha Christie fan, he won (and refused) the Prix Médicis in 1980 for Comptine des Height, a puzzle-novel patterned on Ten Little Indians.

'She was a good person when she wasn't drunk.' Debbie's earliest memory of her mother is that her mother was not there, but any story of neglect always has two sides. When Debbie's daughter, Heather, says she wants to write a book about her upbringing, Debbie begins to string together jagged memories of growing up with Stella, and it's proving more painful than she could've ever imagined.

Part memoir, part biography, part imagination, Little Bit is a story with a third side. Told in the alternating perspectives of Debbie and Stella, Heather writes the story of her mother's and grandmother's lives, where addiction is rife and regret is a constant, and where survival for a woman in a man's world is anything but straightforward. Fiction or nonfiction, this is a book that cannot be categorised and will not be quiet.

An expos of the corruption of medicine by the pharmaceutical industry at every level, from exploiting the vulnerable destitute for drug testing, through manipulation of research data, to disease mongering and promoting drugs that do more harm than good.

Authors, Professor Jon Jureidini and Dr Leemon McHenry, made critical contributions to exposing the scientific misconduct in two infamous trials of antidepressants. Ghostwritten publications of these trials were highly influential in prescriptions of paroxetine (Paxil) and citalopram (Celexa) in paediatric and adolescent depression, yet both trials (Glaxo Smith Kline's paroxetine study 329 and Forest Laboratories' citalopram study CIT-MD-18) seriously misrepresented the efficacy and safety data.

The Illusion of Evidence-Based Medicine provides a detailed account of these studies and argues that medicine desperately needs to re-evaluate its relationship with the pharmaceutical industry. Without a basis for independent evaluation of the results of randomised, placebo-controlled clinical trials, there can be no confidence in evidence-based medicine.

Science demands rigorous, critical examination and especially severe testing of hypotheses to function properly, but this is exactly what is lacking in academic medicine.

Hermann Burger is one of the truly great authors of the German language: a writer of consummate control and range, with a singular and haunting worldview. -Uwe Schütte

In the tunnel-village of Göschenen, a man named Hermann Burger has vanished without a trace from his hotel room, suspected of suicide. What is found in his room is not a note, but a 124-page manuscript entitled Tractatus Logico-Suicidalis: an exhaustive manifesto comprising 1,046 thanatological aphorisms (or mortologisms) advocating suicide.
This grim science of killing the self studies the predominance of death over life, in traumatic experiences such as the breakup of a marriage, years of depression, the erosion of friendships and the disgrace of impotence--but the aphoristic text presents something more complicated than a logical conclusion to life experience. Drawing inspiration from such authors as Wittgenstein, Cioran and Bernhard, Burger's unsettling work would be published shortly before the author would take his own life.
Hermann Burger (1942-89) was a Swiss author, critic and professor. Author of four novels and several volumes of essays, short fiction and poetry, he first achieved fame with his novel Schilten, the story of a mad village schoolteacher who teaches his students to prepare for death. At the end of his life, he was working on the autobiographical tetralogy Brenner, one of the high points of 20th-century German prose. He died by overdose days after the first volume's publication.

A raucous, macabre tale of failure from the filmmaker-turned-writer whose work has garnered cultish attention in recent years

Georges Maman is a down-and-out actor sinking into despair and no longer able to scrape by, failing to make his mark even in the porno industry; Dagonard is a loudmouthed camera assistant who executes his refusal to read a room with almost surgical skill. Their paths cross one evening in a bar, and the two proceed to share a night in Paris: drink, dinner and psychological torture. Drawing from his own aborted career as an assistant director in the film industry, Jean-Pierre Martinet's last novel (before he quit writing) describes a sordid, cynical and disturbingly humorous descent into the hell of failure and the company we keep there. With Their Hearts in Their Boots is joined by At the Back of the Courtyard on the Right, an equally dark and lengthy poetic essay inspired by the work of Henri Calet, a kindred literary spirit whose dimmed star Martinet helped to resuscitate through his brief career as a literary critic.
Jean-Pierre Martinet (1944-93) wrote only a handful of novels, including what is largely regarded as his masterpiece: the psychosexual study of horror and madness Jérôme.
William Boyle is from Brooklyn. His books include Gravesend, which was nominated for the Grand Prix de Littérature Policière in France.

Twenty one of Marcel Schwob's cruelest tales, translated to English for the first time

Nearly 100 years later, a landmark post-Symbolist poem receives its first English translation

When published in 1928, Vulturnus represented a new direction in Léon-Paul Fargue's writing: a shift from the lyrical post-Symbolist melancholy of his early poetry to something more grandiose, dynamic and cosmic. This long prose poem weaves together philosophical dialogue, metaphysical meditation and mournful reminiscence delivered in a language that spirals into scientific terminology and Rabelaisian neologism. Jolted into a nightmare aboard a long-distance train journey, the author finds himself on a voyage that takes him from his hometown to other existences, accompanied by the fanfare of the planets and two companions--Pierre Pellegrin and Joseph Ausudre--who guide him to a terrestrial paradise in quest of a moment of eternity. This first English translation finally introduces an essential yet underrecognized 20th-century voice and includes an essay on the text by René Daumal, who declares that Vulturnus suffocates me with its obviousness ... I see behind Fargue the great frame of Doctor Faustroll.
Léon-Paul Fargue (1876-1947) was a French Symbolist poet and essayist. He was a preeminent figure of the Parisian art scene and counted Marcel Proust and Maurice Ravel among his friends. Walter Benjamin called him the greatest living poet in France.

The archetypal Symbolist novel, and a gorgeous tapestry of death and melancholy, Bruges-la-Morte was also the first work of fiction to employ photographs in the style of Breton, Drndic and Sebald

A widower, Hugues Viane, takes refuge in the decay of Bruges, living among the relics of his dead wife as he transforms his home and the very city he inhabits into her spatial embalmment. Spinning out his existence in a mournful, silent labyrinth of entombed streets and the cold arteries of canals, Viane takes comfort in his narcissistic delirium, until his world is shaken by the appearance of his wife's doppelganger: a young dancer encountered in the street, whose appearance conjures a sequence of events that will introduce the specter of reality into his ritualist dream-state to disastrous effect.
The archetype of the Symbolist novel, Bruges-la-Morte, first published in 1892, remains Georges Rodenbach's most famous work; it has seen numerous cinematic and operatic adaptations, and inspired the source material for Alfred Hitchcock's Vertigo. It was also a precursor to such authors as André Breton and W.G. Sebald in being the first novel to employ photographs as illustrations--to allow readers, as Rodenbach put it, to be subject to the presence of the town, feel the contagion of the neighboring waters, sense in their turn the shadow of the high towers reaching across the text.
Georges Rodenbach (1855-98) was one of the major figures of Belgian Symbolism, an essential bridge between the Belgian and Parisian literary scenes, and a friend and colleague of Verhaeren, Maeterlinck, Mallarmé and Huysmans. He was the author of four novels, eight collections of verse and numerous short stories, plays and critical works.

Unica Z rn (1916-70) was born in Gr newald, Germany. Toward the end of World War II, she discovered the realities of the Nazi concentration camps--a revelation which was to haunt and unsettle her for the rest of her life. After meeting Hans Bellmer in 1953, she followed him to Paris, where she became acquainted with the Surrealists and developed the body of drawings and writings for which she is best remembered: a series of anagram poems, hallucinatory accounts and literary enactments of the mental breakdowns from which she would suffer until her suicide in 1970.

Miss Marple meets H.P. Lovecraft in Ray's genre-defying tale of ghostly intrigue and murder

Published in occupied Belgium in 1943 a few months after his celebrated novel Malpertuis, The City of Unspeakable Fear remains one of Jean Ray's most curious works. Haunting an ambiguous interzone between detective novel, horror fiction and Anglophile parody, it follows the misadventures of presumed police officer Sidney Terence Triggs upon his retirement to the sleepy English country town of Ingersham. A cast of characters worthy of Dickens awaits him, from the sympathetic old clerk Ebenezer Doove to the druggist Theobold Pycroft, the eccentric department store owner Gregory Cobwell and a motley collection of other humorously humdrum inhabitants.
The emphatically commonplace quickly gives way to haunted melodrama as Triggs's new neighbors begin to die violently or vanish. His false identity as a detective is put to the test under the threat of murderous phantoms as city and citizens come apart at the seams.
Jean Ray (1887-1964) is the best known of the multiple pseudonyms of Raymundus Joannes Maria de Kremer, a pivotal figure in the Belgian School of the Strange, who authored some 6,500 texts in his lifetime.

Exquisitely crafted essays on medieval criminal slang, ancient Greek prostitution, laughter, anarchy and more from the endlessly influential Marcel Schwob

All over the world, wrote Jorge Luis Borges, there are devotees of the writer Marcel Schwob who constitute little secret societies. Spicilege, Schwob's last book published under his name, constitutes the handbook to these societies--to Schwob's work, to himself as erudite scholar and author, and to the twilight of the era of French Symbolism. Schwob was, as Paul Léautaud described him, a living library, and the critical biographies gathered in the essays of Spicilege display a few of the volumes in that library: his groundbreaking research on François Villon (work that remains a cornerstone to our knowledge of Villon), his passion for Robert Louis Stevenson and his encounters with such less-remembered writers as George Meredith. But it is the carefully developed ideas in these essays and the eccentric yet thorough scholarship that draws them together that are of particular interest today: the understanding of criminal slang in the Middle Ages; the study of prostitution in ancient Greece; the folklore inspired by a Flaubert story; a complex critique of individuality that effectively laid the groundwork for Jarry's pataphysics; as well as ruminations on perversity, laughter, biography, love, terror and pity, and art and anarchy.
Marcel Schwob (1867-1905) was a scholar of startling breadth, an incomparable storyteller and a secret influence on generations of writers, from Apollinaire and Borges to Roberto Bolaño and J. Rodolfo Wilcock.

Together with other disillusioned illusionists, the titular magician exposes the dark underside of art, intent on unveiling life's elegant deception

In following the tales of these magicians of madness, Diabelli offers unique confessional accounts of linguistic self-destruction. Chief among them is prestidigitator Grazio Diabelli, who refuses an invitation to perform and instead discourses on the history of escapology as he contemplates his own final and permanent disappearing act. Also waiting in the wings is August Stramm, pianistic abortion applying for the post of orchestra minion despite being hard of hearing; and Anatol Zentgraf, private scholar and maniacal reader who is the alleged epicenter of an earthquake. Added to this first English edition is Burger's tale The Laughter Artist, an account of a nameless professional artist of cachinnation whose mother's backstage visit induces a fatal culmination of his art.
Hermann Burger (1942-89) was a Swiss author, critic and professor. He first achieved fame with his novel Schilten, the story of a mad village schoolteacher who teaches his students to prepare for death. At the end of his life, he was working on the autobiographical tetralogy Brenner, one of the high points of 20th-century German prose.

I've just read Marcel Schwob's The Children's Crusade twice over, with deep admiration and reverence. I am profoundly moved: what a work And to think I'd never heard the name of Marcel Schwob. Who is he?--Rainer Maria Rilke

Marcel Schwob's 1896 novella The Children's Crusade retells the medieval legend of the exodus of some 30,000 children from all countries to the Holy Land, who traveled to the shores of the sea, which--instead of parting to allow them to march on to Jerusalem--instead delivered them to merchants who sold them into slavery in Tunisia or delivered them to a watery death. It is a cruel and sorrowful story mingling history and legend, which Schwob recounts through the voices of eight different protagonists: a goliard, a leper, Pope Innocent III, a cleric, a qalandar and Pope Gregory IX, as well as two of the marching children, whose naive faith eventually turns into growing fear and anguish.

Though it is a tale drawn from the early 13th century, Schwob presents it through a modern framework of shifting subjectivity and fragmented coherency, and its subject matter and its succession of different narrative perspectives has been seen as an influence on and precursor to such diverse works as Alfred Jarry's The Other Alcestis, Ryunosuke Akutagawa's In a Grove, William Faulkner's As I Lay Dying and Jerzy Andrzejewski's The Gates of Paradise. It is a tale told by many yet understood by few, a mosaic surrounding a void, describing a world in which innocence must perish.

Satirical yet prophetical advertisements for imaginary new products, influential to Marcel Duchamp and Francis Picabia

Originally published in book form in 1916, this volume of French author Gaston de Pawlowski's (1874-1933) writings, New Inventions and the Latest Innovations, collects the humorist's fictional columns mocking his era's burgeoning consumerism and growing faith in science. From anti-slip soap, gut rests and the pocket-sized yardstick to repurposed spittoons, nasal vacuums, electric oysters and musicographical revolvers, Pawlowski offers a far-sighted critique of technological gadgetry and a cynical promise to remove discomfort from every facet of life, even as World War I raged on and technology was unleashing new horrors onto humanity.
Pawlowski's humorous cultural critique and tongue-in-cheek celebration of uselessness and futility bears relevance for today, as technology remains the hoped-for answer to our increasingly troubled human condition. Described with the excessive optimism of the sales pitch, these inventions of yesteryear were also an influence in the arts, admired by such figures as Marcel Duchamp and Raymond Queneau, and standing as a precursor to the work of such artists as Jean Tinguely and today's looming specter of AI-generated artwork and literature.