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[content] => <p class="style25">After seeing an azalea looking at him in the Curepipe Botanic Gardens (and realizing that he himself was becoming a flower), Malcolm de Chazal began composing what would eventually become his unclassifiable masterpiece, <em>Sens-Plastique</em>, which would take its final form in 1948. Containing over two thousand aphorisms, axioms, and allegories, the book was immediately hailed as a work of genius by such poets as Andr<span class="style13">é</span> Breton and Francis Ponge and such painters as Jean Dubuffet and Georges Braque. Embraced by the surrealists as one of their own but also viewed dubiously by other readers as something of an occultist, Chazal chose to avoid all literary factions and steadfastly anchored himself in his solitary life as a bachelor mystic on the island nation of Mauritius, where he would proceed to write books and paint for the rest of his life.</p>
<p class="style25"><em>Sens-Plastique</em> employs a strange humor and an alchemical sensibility to offer up an utterly original world vision that unifies neo-science, philosophy, and a hyper-detailed poetry into a new form of writing. Mapping every human body part, facial expression, and emotion onto the natural kingdom through subconscious thinking, Chazal presents a world in which humankind is not just made in the image of God, but Nature is made in the image of humankind: a sensual, synesthetic world in which everything in the universe, be it animal, vegetable, mineral, or human, manifests a spiritual copula.</p>
<p class="style25">[publisher's note]</p>
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[content] => <p class="style35">Originally published in French in 1979, <em>Rogomelec</em> was the third of Leonor Fini’s novels. All the qualities of the paintings for which she is famed can be found in it: an undermining of patriarchy, the ambiguities of gender and the slipperiness of desire, along with darker hints of cruelty and the voluptuousness of fear. This novella’s ambiguous narrator sets off for the isolated locale of Rogomelec—where a crumbling monastery serves as a sanatorium and offers a cure involving a diet of plants and flowers—and moves through a waking dream involving strangely scented monks, vibratory concerts in a cavernous ossuary, and ritualist pomp with costumes of octopi and shining beetles. As the days unfold, the narrator discovers that the “the celebration of the king” is approaching, the events of which will lead to a shocking discovery in Rogomelec’s Gothic ruins. This first English translation includes 14 drawings by Fini that accompanied the novella’s original publication. [publisher’s note]</p>
<p class="style35"><span class="style12">Translated by William Kulik and Serena Shanken Skwersky, with an introduction by Jonathan P. Eburne.</span></p>
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[content] => <p>Yumiko Kurahashi’s 1968 novella <em>Scorpions</em> takes the form of a transcript of a one-sided interview with L following the arrest and institutionalization of her twin brother K. The two have played a role in a series of horrifying deaths culminating in the murder of their mother. Through a first-person narrative that varies in tone from scientifically clinical to darkly humorous, mingling together references to the Bible and Greek mythology, odd bits of dialogue, and obtuse descriptions, we learn of K and L’s shocking crimes, the gruesome plight of their religion-obsessed mother, and the professional and personal entanglement of L and an older man they call the RED PIG, their mother’s former lover.</p>
<p><em>Scorpions</em> remains, after more than half a century, a shockingly transgressive text, as well as an encapsulation of the work of an influential but woefully under-translated author. It bears allegiance to the most radical French fiction of its time, particularly the work of Jean Genet, an author Kurahashi admired, whose own novels explored the sanctification of criminal behavior. </p>
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[content] => <p class="style176">With <em>Psychology of the Rich Aunt</em>, Erich M<span class="style110">ü</span>hsam made his ironic bid for authorial immortality by announcing his discovery that immortality in fact exists—specifically in the person of the Rich Aunt. By means of twenty-five case studies, arranged alphabetically (from Aunt Amalia to Aunt Zerlinde), M<span class="style110">ü</span>hsam argues his case: the Rich Aunt is able to live forever provided she has a nephew waiting in the wings for her demise and for his inheritance. The corollary revealed in these tales, of course, is that a Rich Aunt’s eternal rest is directly tied to her nephew’s deprivation of aforementioned inheritance, be it intentional or fortuitous, or the disappearance of any inheritance for her to offer. The pathways to an immortal’s demise thus prove to be varied, and can be the result of anything from the vagrancies of sexual proclivities or the stock market to the unforeseen expenses of literary ambitions or the whims of personality or punctuation. The Rich Aunt emerges as the enduring fly in the ointment of Church, Family, and State, the undoing of fate personified, as well as the transformation of morality into mortality under the aegis of Capital.</p>
<p class="style176">Originally published in German in 1905, <em>Psychology of the Rich Aunt</em> is a sardonic, caustically tongue-in-cheek portrayal of greed under capitalism in the bourgeois epoch. It also offers the anarchist author’s lesser-known roots in existential slapstick, and is an entertaining example of the heretical verve that animated his life and work as a whole.</p>
<p class="style71 f-lp">[publisher's note]</p>
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[content] => <p class="style59">It is 1905 and a raging stupidity is holding sway over Europe. As an eighteen-year-old Clarissa and her family take refuge from an uninspiring Berlin on the icy shores of Lake Wannsee, the legendary Baron Munchausen makes an unexpected appearance at their door. Returning to German society after a century of absence at the ripe age of 180, the Baron has new experiences to relate and is cajoled into presenting his impressions of the World Fair in Melbourne, Australia, to a select gathering of Berlin celebrities. Over the course of a week, the sprightly Baron arrives nightly by sleighmobile to combat the dreary days with a series of fantastical visions and theories, each eclipsing the previous one: he discusses mobile architecture, the role of technology in the arts, the need for sculpture and painting to ignore nature in their quest to discover new planetary organs and senses, the new household miracles of vacuum tubes for cleaning and potato-peeling machines, the repressive function of sexuality, and the need for progressive taxation. His tales of Melbourne eventually take his audience from a Deep Sea Restaurant in the ocean depths to the dwellings of mineral giants in mountain caverns before culminating in a spiritual voyage to outer space among sausage moons and sun-skins.</p>
<p> </p>
<p>[publisher's note]</p>
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[content] => <p>Walter Serner’s first story collection, published in German in 1921, brought to narrative form the essential philosophy he espoused in his earlier Dada manifesto/handbook, <em>Last Loosening: A Handbook for the Con Artist and Those Who Wish to Be One</em>—life is a con job and demands the skills of a swindler. With its depiction of a world of appearances in which nothing can be trusted, <em>At the Blue Monkey</em> helped establish the ex-doctor and renounced Dadaist as a literary “Maupaussant of crime.” This first English translation offers thirty-three stories of criminals, con artists, prostitutes, and gadabouts engaged in a variety of forms of financial insolvency, embezzlement, sexual hijinks, long and short cons, and dalliances with venereal diseases and drugs. With a mordant humor that renders the criminal code into something nearly occult, Serner describes a bevy of hoodlums, pimps, and swindlers utilizing a potpourri of European argot to disquieting effect, waging a secret war against anything crossing their paths—especially in affairs of the ultimate confidence scheme, the heart. Told in a baroque, sometimes baffling poetry of underworld slang in an urban world of bars and rent-a-rooms where human animals are either on unsavory display or on the make, these short tales are presented like so many three-card Montes in which the reader may well be the literary mark.</p>
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