Résultats pour "Samanta Schweblin" dans Fiction

Las casas son siete, y están vacías. La narradora, según Rodrigo Fresán, es 'una científica cuerda contemplando locos, o gente que está pensando seriamente en volverse loca'. Y la cordura, como siempre, es superficial. Samanta Schweblin nos arrastra hacia Siete casas vacías y, en torno a...

Sculpted and lucid, strange and uncanny, this is an explosive collection from the incomparable imagination of Samanta Schweblin, a master of the short story. A gripping blend of the raw, the astonishing and the tragic, every story is as perfectly unexpected as a snare: tightly, exquisitely wound, ready to snap at a touch.

Experience the blazing, surreal sensation of a fever dream...A young woman named Amanda lies dying in a rural hospital clinic. A boy named David sits beside her. She’s not his mother. He's not her child. Together, they tell a haunting story of broken souls, toxins, and the power and desperation of family. Fever Dream is a nightmare come to life, a ghost story for the real world, a love story and a cautionary tale.

Una joven llamada Amanda yace agonizando en el hospital de un pequeño pueblo rural de Argentina. Un niño llamado David se sienta a su lado. Ella no es su madre. Él no es su hijo. Juntos cuentan una historia inquietante de almas rotas, campos envenenados y una familia desesperada. Distancia de rescate es una pesadilla hecha realidad, una historia de fantasmas instalada en el mundo real y una advertencia.

The characters of Good and Evil find themselves at a point of no return, dazzled by the glare of impending tragedy. Vulnerable and profoundly human, they become trapped in the instant in which the uncanny has lurched into their lives. Some are transformed, some are isolated, others waver between guilt or tenderness. All of them are driven by uncertainty.

De er overalt. De er her. De er os. De har infiltreret hjem i Hong Kong, butikker i Vancouver, gaderne i Sierra Leone, torve i Oaxaca, skoler i Tel Aviv, soveværelser i Indiana. De er ikke kæledyr eller spøgelser eller robotter. De er rigtige mennesker, men hvordan kan en person, der bor i Berlin, gå frit gennem stuen hos nogen i Sydney? Hvordan kan nogen i Bangkok spise morgenmad med dine børn i Buenos Aires, uden at du ved det? Især når disse mennesker er helt anonyme, ukendte, ikke sporbare.

A powerful, eerily unsettling story collection from a major international literary star. Unearthly and unexpected, the stories in Mouthful of Birds burrow their way into your psyche and don't let go. Samanta Schweblin haunts and mesmerizes in this extraordinary, masterful collection. Schweblin's stories have the feel of a sleepless night, where every shadow and bump in the dark take on huge implications, leaving your pulse racing, and the line between the real and the strange blur.

The characters in Samanta Schweblin's wildly imaginative new novel, Little Eyes, reveal the beauty of connection between far-flung souls but they also expose the ugly truth of our increasingly linked world. Trusting strangers can lead to unexpected love, playful encounters and marvellous adventures, but what if it can also pave the way for unimaginable terror? Schweblin has created a dark and complex world that is both familiar but also strangely unsettling, because it's our present and we're living it - we just don't know it yet.

Kafka møder Brødrene Grimm i argentinske Samanta Schweblins "Fugle i munden". Det er fortællinger, som med humor og suggestiv kraft bevæger sig på grænsen mellem realisme, gys og magisk realisme. En bog, der udvider feltet for, hvad litteraturen kan, og som i samme hug undersøger relationer mellem mennesker og mellem mennesker og natur. Samanta Schweblin første roman, "Redningsafstand" (da. 2017), var nomineret til the Man Booker International Prize.

They've infiltrated homes in Hong Kong, shops in Vancouver, the streets of in Sierra Leone, town squares in Oaxaca, schools in Tel Aviv, bedrooms in Indiana. They're everywhere. They're here. They're us. They're not pets, or ghosts, or robots. They're real people, but how can a person living in Berlin walk freely through the living room of someone in Sydney? How can someone in Bangkok have breakfast with your children in Buenos Aires, without your knowing? Especially when these people are completely anonymous, unknown, unfindable.

The seven houses in these seven stories are empty. Some are devoid of love or life or furniture, of people or the truth or of memories. But in Samanta Schweblin’s tense, visionary tales, something always creeps back in: a ghost, a fight, trespassers, a list of things to do before you die, a child’s first encounter with a dark choice or the fallibility of parents.