Farewells to Plasma

(Author) (Translator)
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Product Details
$14.00  $13.02
Twisted Spoon Press
Publish Date
5.8 X 8.06 X 0.49 inches | 0.44 pounds

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About the Author
Natasza Goerke is a representative of the bruLion generation in Polish literature, one of the freshest talents to emerge in recent years. She was born in Pozan, Poland, in 1960, and studied Polish and Oriental languages at university. She has published three books in Polish and one collection in German translation. Her stories have appeared in numerous Polish magazines and in Slovenian, Macedonian, Serbian, German and English anthologies (The Eagle and the Crow, Serpent's Tail--UK, 1996). In 1993 she received the Czas Kultury Prize; in 1995 she won a six-month stipend to the prestigious Akademie Schloss Solitude in Stuttgart, the only Polish writer to receive this distinction. She currently lives in Hamburg, Germany.
W. Martin is a doctoral candidate in Comparative Literature at the University of Chicago. He hast taught at the Writing Program, School of the Art Institute of Chicago, and has served as an editor of Chicago Review, for which he compiled a special issue on Polish literature in the 1990s. His translations of prose and poetry from both Polish and German have appeared in a number of literary and scholarly journals, and he is the translator of Michal Witkowski's Lovetown.
Many of the pieces are informed by Goerke's exposure to eastern philosophy, and are more akin to the koan of Buddhist literature than traditional western storytelling. Many of them resist simple interpretation. Goerke gives us tantalising glimpses of traditional structures, such as narrative, cause and context, only to repeatedly pull the rug from under us.

-- Andrew Barnes, Belletrista
Natasza Goerke refers to a reality that understands itself as a game of appearances.

-- The Copenhagen Journal
For me, Goerke's narratives are elliptical more than absurd, circular instead of fragmentary, humorously paradoxical (in their sporting with logic) more than ludicrous, qualities that tend to emphasize extravagant amusement alone. The grostesque features of her fiction participate, not in wild Baroque whimsy, but rather in carefully meditated philosophical tales that illustrate abstract questions or, more precisely, metaphysical enigmas that resemble both Zen koans and the kind of conundrums that at once puzzle Eastern Europeans and make them laugh.

-- John Taylor, The Iowa Review