**LONG-LISTED FOR THE 2013 FRANK O'CONNOR INTERNATIONAL SHORT STORY AWARD**
**BOOK OF THE MONTH IN THE SKINNY**
A soldier with the ability to predict the future finds himself blackmailed by an insurgent into the ultimate act of terror…
A deviser of crosswords survives a car-bomb attack, only to discover he is now haunted by one of its victims…
Fleeing a robbery, a Baghdad shopkeeper falls into a deep hole, at the bottom of which sits a djinni and the corpse of a soldier from a completely different war…
From legends of the desert to horrors of the forest, Blasim’s stories blend the fantastic with the everyday, the surreal with the all-too-real. Taking his cues from Kafka, his prose shines a dazzling light into the dark absurdities of Iraq’s recent past and the torments of its countless refugees. The subject of this, his second collection, is primarily trauma and the curious strategies human beings adopt to process it (including, of course, fiction). The result is a masterclass in metaphor – a new kind of story-telling, forged in the crucible of war, and just as shocking.
'At first, you receive Blasim with the kind of shocked applause you’d award a fairly transgressive stand-up. You’re quite elated. Then you stop reading it at bedtime. At his best, Blasim produces a corrosive mixture of broken lyricism, bitter irony and hyper-realism which topples into the fantastic and the quotidian in the same reading moment.'
– M John Harrison
'Perhaps the best writer of Arabic fiction alive...'
– The Guardian.
'Bolaño-esque in its visceral exuberance, and also Borgesian in its gnomic complexity... a master of metaphor.'
– The Guardian.
Hassan Blasim is a poet, filmmaker and short story writer. Born in Baghdad in 1973, he studied at the city's Academy of Cinematic Arts, where two of his films Gardenia (screenplay & director) and White Clay (screenplay) won the Academy's Festival Award for Best Work in their respective years. In 1998 he left Baghdad for Sulaymaniya (Iraqi Kurdistan), where he continued to make films, including the feature-length drama Wounded Camera, under the pseudonym Ouazad Osman, fearing for his family back in Baghdad under the Hussein dictatorship. In 2004, he moved to Finland, where he has since made numerous short films and documentaries for Finnish television.
His stories have previously been published on www.iraqstory.com and his essays on cinema have featured in Cinema Booklets (Emirates Cultural Foundation). His first short story in English appeared in Madinah, City Stories from the Middle East (Comma 2008). His first collection The Madman of Freedom Square (Comma, 2009) has been translated into five languages. This is his second book.
The Things They Carried won France's prestigious Prix du Meilleur Livre Etranger and the Chicago Tribune Heartland Prize; it was also a finalist for the Pulitzer Prize and the National Book Critics Circle Award.
The hardcover publication of A Meal in Winter established Hubert Mingarelli as one of the most exciting new voices in international fiction.
Mingarelli’s timeless novel begins one morning in the dead of winter, during the darkest years of World War II, with three German soldiers heading out into the frozen Polish countryside. They have been charged by their commanders with tracking down and bringing back for execution “one of them”—a Jew. Having flushed out a young man hiding in the woods, they decide to rest in an abandoned house before continuing their journey back to the camp. As they prepare food, they are joined by a passing Pole whose virulent anti-Semitism adds tension to an already charged atmosphere. Before long, the group’s sympathies begin to splinter when each man is forced to confront his own conscience as the moral implications of their murderous mission become clear.
Described by Liberation as “impossible to put down,” A Meal in Winter, with its ”simple declarative sentences and crystalline, cinematic vignettes” (Publishers Weekly) is a “masterpiece of empathy and horror” (The Guardian) that recalls the cinema of Polanski and Hitchcock, the work of Isaac Babel and Ernest Hemingway, and Louis Begley’s Wartime Lies.
“History is a hostage, but it will bite through the gag you tie around its mouth, bite through and still be heard.”—Operation Daniel
In a calm and serene world, one has the luxury of imagining what the future might look like.
Now try to imagine that future when your way of life has been devastated by forces beyond your control.
Iraq + 100 poses a question to Iraqi writers (those who still live in that nation, and those who have joined the worldwide diaspora): What might your home country look like in the year 2103, a century after a disastrous foreign invasion?
Using science fiction, allegory, and magical realism to challenge the perception of what it means to be “The Other”, this groundbreaking anthology edited by Hassan Blasim contains stories that are heartbreakingly surreal, and yet utterly recognizable to the human experience. Though born out of exhaustion, fear, and despair, these stories are also fueled by themes of love, family, and endurance, and woven through with a delicate thread of hope for the future.
At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.