Kirjahaku

At the turn of the twentieth century, as he composes a treatise on melancholy, Jacov Reinhardt sets off from his small Croatian village in search of his hero and unwitting mentor, Emiliano Gomez Carrasquilla, who is rumored to have disappeared into the South American jungle—“not lost, mind you, but retired.” Jacov’s narcissistic preoccupation with melancholy consumes him, and as he desperately recounts the myth of his journey to his trusted but ailing scribe, hope for an encounter with the lost philosopher who holds the key to Jacov’s obsession seems increasingly unlikely.From Croatia to Germany, Hungary to Russia, and finally to the Americas, Jacov and his companions grapple with the limits of art, colonialism, and escapism in this antic debut where dark satire and skewed history converge.

“What I wanted more than anything was to be standing beside Schmidt, in concert with Schmidt, at the foot of Saint Sebastian’s Abyss along with Schmidt, hands cupped to the sides of our faces, debating art, transcendence, and the glory of the apocalypse.” Former best friends who built their careers writing about a single work of art meet after a decades-long falling-out. One of them, called to the other’s deathbed for unknown reasons by a “relatively short” nine-page email, spends his flight to Berlin reflecting on Dutch Renaissance painter Count Hugo Beckenbauer and his masterpiece, Saint Sebastian’s Abyss, the work that established both men as important art critics and also destroyed their relationship. A darkly comic meditation on art, obsession, and the enigmatic power of friendship, Saint Sebastian’s Abyss stalks the museum halls of Europe, feverishly seeking salvation, annihilation, and the meaning of belief.

From the author of Reinhardt's Garden and Saint Sebastian's Abyss comes a breathless new novel of delirious obsession. Bereft after the death of his ailing wife, a retired professor has resumed his life's work—a book that will stand as a towering cathedral to Michel de Montaigne, reframing the inventor of the essay for the modern age. The challenge is the litany of intrusions that bar his way—from memories of his past to the nattering of smartphones to his son's relentless desire to make an electronic dance album.As he sifts through the contents of his desk, his thoughts pulsing and receding in a haze of caffeine, ghosts and grievances spill out across the page. From the community college where he toiled in vain to an artists' colony in the Berkshires, from the endless pleasures of coffee to the finer points of Holocaust art, the professor's memories churn with sculptors, poets, painters, and inventors, all obsessed with escaping both mediocrity and themselves.Laced with humor as acrid as it is absurd, Lesser Ruins is a spiraling meditation on ambition, grief, and humanity's ecstatic, agonizing search for meaning through art.

From “one of the most rigorous and serious—and anachronistic—novelists working today” (The Washington Post) comes a raucous new tale plumbing the depths of ego and ardor. In a remote country in Europe, Gerard Desacroux IX, petty tyrant and French nationalist, wants nothing more than to be reunited with Ada, the object of his desire ever since their brief fling in Paris years before. Though Ada is on her way to visit, there are the unfortunate matters of civil unrest, assassination attempts, and Ada’s affluent (and highly inconvenient) husband to contend with before bliss is attained. Despite it all, Desacroux IX is determined that nothing—neither war, nor ominous weather, nor the rising swell of indignant peasants—shall stand between him and Ada. Told with Mark Haber’s trademark exuberant absurdity, Ada is a comedy about the mania of power, unrequited love, and the solitude of authority.