The Luminaries: A Novel (Man Booker Prize)
Eleanor Catton
1860年代のニュージーランドの金鉱町を舞台に、占星術的な構成と多数の視点を通じて、失踪事件や金、欲望、運命が複雑に絡み合う長編小説。精緻な構築と謎解きの推進力が同時に立ち上がる。
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Eleanor Catton
1860年代のニュージーランドの金鉱町を舞台に、占星術的な構成と多数の視点を通じて、失踪事件や金、欲望、運命が複雑に絡み合う長編小説。精緻な構築と謎解きの推進力が同時に立ち上がる。
Winston Graham
Winston Graham's The Little Walls won the first Crossed Red Herring Award, now known as the Gold Dagger Award. Why did he do it? The purpose of Philip Turner’s journey to Amsterdam is to investigate the apparent suicide of his bother Grevil. He has not seen him for several years. His enquiries lead him from Holland to Capri in search of a mysterious girl to whom Grevil had written a cryptic farewell note. What part does the shadowy Jack Buckingham play? Why can he not be found? Martin Coxon is the only man who has ever known Buckingham well, but it is the girl who seems to have all the answers if she can be persuaded to talk.
Penny Warner
コード解読を得意とする子どもたちが、アルカトラズ島への課外授業をきっかけに謎の宝探しへ向かう。遊び心のある仕掛けが、読者の参加感を高める児童向けミステリ。
Francesco Pecoraro
実業家イーヴォ・ブランダーニの人生を軸に、現代イタリアの社会的退潮を描く長編小説。
Kate DiCamillo, K. G. Campbell
掃除機に吸われたリスが思わぬ力を得たことから、フローラの家族と日常が少しずつ変わっていく。ユーモアとコミック的な構成が魅力の児童長編。
Alan Weisman
環境と人口の未来を、世界各地の現場から考えるルポルタージュ。
Elisa Biagini, Diana Thow, Sarah Stickney, Eugene Ostashevsky, Angelina Oberdan
Poetry. Translated from the Italian by Diana Thow, Sarah Stickney, and Eugene Ostashevsky. Introduction by Angelina Oberdan. THE GUEST IN THE WOOD offers selections from L'ospite / The Guest (2004) and Nel Bosco / Into the Wood (2007). Cryptic, searching, probing, these are innovative poems of the mysteries of the body, of everyday life, of mortality. In the preface, Angelina Oberdan compares Biagini's concise diction to Emily Dickinson, her lines to Kay Ryan, her terseness to Ellen Bryant Voight. Oberdan writes that in her intense interaction with contemporary American poets, many of whom she has translated into Italian, Biagini "started to feel the responsibility to write about the taboo or what makes us uncomfortable." "There's masochism and martyrdom as in family life and love gone weary. Domestic images of food, kitchenware, ironing board, are laced with the threat of violence in which the poet might eat her guest, or be eaten. Maps lead nowhere. Yet anyone reading these surreal poems will find in them a mirror. For are we not each lost? Are we not each entrapped? Are we not each fearfully mortal? Of our inescapable human situation, Biagini has created, as if under a spell, a rare and compelling beauty."—Alicia Ostriker
Bernhard E Olson
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