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For anyone interested in European literature these stories are an undiscovered snapshot of some of the most interesting and important writing of the 20th and 21st century. From the same culture that consistently draws worldwide attention for its groundbreaking and avante-garde movements in the visual arts, this collection displays the same playfulness, innovation and sense of humour in Dutch literary movements. The stories are varied: subversive, profound, hilarious; stylistically experimental and psychologically astute. The majority of these stories appear here in English for the first time, and many of these names will be unfamiliar to English-speaking audiences. Amazon.

A critically acclaimed, award-winning collection drawing sparkling prose from the inspiration of three rivers passing through different times and places. On the storm-swollen Aisne in northeastern France, an alcoholic actor combats both his demons and nature's tempests. Along the Main and Rhine in Germany, a kindhearted logger has but one wish: to travel with the lumber from his small Franconian hometown to the end of the river in the Netherlands, where it feeds into the majestic North Sea. In a bucolic vale in the French region of Brittany, two families, divided by religion and an unnamed stream, sustain a centuries-old feud, their resolve no match for the constantly shifting flow of water.

We investigated how the strength of a foreign accent and varying types of experience with foreign-accented speech influence the recognition of accented words. In Experiment 1 , native Dutch listeners with limited or extensive prior experience with German-accented Dutch completed a cross-modal priming experiment with strongly, medium, and weakly accented words. Participants with limited experience were primed by the medium and weakly accented words, but not by the strongly accented words. Participants with extensive experience were primed by all accent types. In Experiments 2 and 3 , Dutch listeners with limited experience listened to a short story before doing the cross-modal priming task. In Experiment 2 , the story was spoken by the priming task speaker and either contained strongly accented words or did not. Strongly accented exposure led to immediate priming by novel strongly accented words, while exposure to the speaker without strongly accented tokens led to priming only in the experiment’s second half. In Experiment 3 , listeners listened to the story with strongly accented words spoken by a different German-accented speaker. Listeners were primed by the strongly accented words, but again only in the experiment’s second half. Together, these results show that adaptation to foreign-accented speech is rapid but depends on accent strength and on listener familiarity with those strongly accented words.

A Dutch translation of the Arthur Conan Doyle short story \"The Red-Headed League,\" published in serial form in the Flemish newspaper Het Volk in 1911, displays considerable changes from the original. Sherlock Holmes is more generic and superficial, references to London are much vaguer, and lowbrow features are augmented. This translation strategy is connected to the intended readership.

01 02 Death in a Cold Climate is a celebration and analysis of Scandinavian crime fiction, one of the most successful literary genres. Barry Forshaw, the UK's principal expert on crime fiction, discusses books, films and TV adaptations, from Sjöwall and Wahlöö's influential Martin Beck series through Henning Mankell's Wallander to Stieg Larsson's demolition of the Swedish Social Democratic ideal in the publishing phenomenon The Girl with the Dragon Tattoo . In intelligent but accessible fashion, the book examines the massive commercial appeal of the field along with Nordic cultural differences from Iceland to Denmark. Including unique interview material with writers, publishers and translators, this is the perfect reader's guide to the hottest strand of crime fiction today, examined both as a literary form and as an index to the societies it reflects. Includes Stieg Larsson, Henning Mankell, Jo Nesbø, Håkan Nesser, Karin Fossum, Camilla Läckberg, Liza Marklund, Jussi Adler-Olsen, Arnaldur Indriðason, Roslund & Hellströmand many others. 04 02 Acknowledgments Introduction Crime and the Left The Cracks Appear: Henning Mankell Sweden: The Dream Darkens Sweden: Foreign Policy and Unreliable Narratives Last Orders: The Larsson Phenomenon The Fight Back: Anti-Larsson Writers Criminals and Criminologists Norway: Crime and Context Norway and Nesbø Iceland: Crime and Context Fringe Benefits: Icelandic Woes Finland: Crime and Context Death in Denmark Danish Uncertainties Film and TV Adaptations Bibliography Index 31 02 A celebration and analysis of Scandinavian crime fiction, one of the most successful literary genres, with a focus on books, films and TV adaptations of authors such as Stieg Larsson. 08 02 'Extensive, penetrating and intelligently written, Barry Forshaw's book is the most fulfilling work on the strange genre of Nordic Noir I have ever encountered.' - Håkan Nesser, author of The Inspector and Silence 'Death in a Cold Climate is a comprehensive and authoritative guide to the fictional underbelly of the Nordic psyche, whose popularity has become the publishing sensation of the century. Perceptive, witty and awesomely well-researched.' - Andrew Taylor, author of The American Boy 'Far more than a checklist, this is the essential guide through the snowdrifts of Nordic Noir.' Val McDermid, author of The Wire in the Blood 'With customary depth and precision, Forshaw gets under the skin of this celebrated genre, uncovering many of its secrets and riches. Like its subjects, this book is hard to put down, and will undoubtedly be returned to time and again.' - Dr Steven Peacock, University of Hertfordshire, UK 'A fascinating, comprehensive and very enjoyable overview of the publishing phenomenon that is Nordic noir, placing it in a cultural and historical context, with insightful contributions from writers, translators and editors - an essential reading guide for lovers of the crime genre.' - Laura Wilson, crime fiction critic, The Guardian 'The sudden triumphant rise of Nordic mystery stories is a fascinating puzzle of modern literature. With forensic intelligence, captivating characters, riveting clues and sub-plots, Barry Forshaw investigates and satisfyingly explains what happened.' - Mark Lawson 'Not a stone is left unturned in Barry Forshaw's witty, encyclopedic investigation into the fictional crimes that have made Scandinavia the most talked about region in the world of books. Death in a Cold Climate is a unique and admirable personal testament to the writers, translators and publishers who have dedicated themselves to introducing Scandinavian crime fiction, its many languages and cultures, to the English speaking world. If upon turning the last page of Forshaw's book you are not immediately heading for the nearest bookstore to buy up every Scandinavian crime novel on its shelves, you were probably not meant to read this book in the first place.' - Jakob Stougaard-Nielsen, University College London, UK 'What Barry Forshaw doesn't know about crime fiction, to borrow an old phrase, isn't worth knowing. A journalist, chronicler of the genre, and talking head for the CWA Awards, with Death in a Cold Climate he covers in depth the extraordinarily popular sub-genre that is Nordic noir...Through interviews with authors and translators, Forshaw offers in-depth takes on the cream of the Nordic crop...an informative and educational effort from perhaps the nation's leading expert in the field.' - Dennis O'Donnell, bookgeeks.co.uk 'Death in a Cold Climate is both intelligent and perceptive. Humble it is not. It is, to my knowledge, the most complete guide to Scandinavian crime fiction yet written in any language, an invaluable companion for anyone interested in the genre.' - Mons Kallentoft, Financial Times 02 02 Barry Forshaw, the UK's principal crime fiction expert, presents a celebration and analysis of the Scandinavian crime genre; from Sjöwall and Wahlöö's Martin Beck series, through Henning Mankell's Wallander, to Stieg Larsson's demolition of the Swedish Social Democratic ideal in the publishing phenomenon The Girl with the Dragon Tattoo . 16 02 Arvas & Nestingen (eds): SCANDINAVIAN CRIME FICTION (EUROPEAN CRIME FICTIONS SERIES); University of Wales Press, forthcoming 2011 (pbk £24.99) This is the only study in English of Nordic crime fiction.  It is an edited volume exploring the cultural contexts into which Nordic crime fiction fits via thirteen articles on the history, aesthetics, and film and television adaptation of Nordic crime fiction. 19 02 Scandinavian crime fiction is currently one of the most successful popular fiction genres Includes exclusive interview material with authors, translators and publishers of Scandinavian crime fiction This is the first in-depth study of Scandinavian crime fiction Places key authors in their relevant context to explore the ways in which British and American notions of the Nordic democratic ideal have changed Highly experienced and proactive author 13 02 BARRY FORSHAWis a writer and journalist specialising in crime fiction and cinema. His books include The Man Who Left Too Soon: The Life and Works of Stieg Larsson (2010), British Crime Writing: An Encyclopedia (2008), The Rough Guide to Crime Fiction (2007), Italian Cinema: Arthouse to Exploitation (2006) and the forthcoming British Crime Film (2012), and he has contributed to the Directory of World Cinema . He has also written for a variety of national newspapers as well as for Movie Mail , Waterstone's Books Quarterly and Good Book Guide and is editor of the online Crime Time magazine. He is also a talking head for the ITV Crime Thriller author profiles and BBC TV documentaries, and has been Vice Chair of the Crime Writers' Association.

This essay examines narratives in which Arthur Schnitzler explores the unconscious of Vienna’s fin-de-siècle society through the leitmotif of the haunted letter. Examining five short stories written between 1880 and 1930, the essay argues that letters written by characters who anticipate their readership after their deaths reflect the uncanny paranoia and hysteria of modernity. Through an analysis of Schnitzler’s narrative techniques, the essay investigates the author’s psychological portrayal of modern society with the literary tool of the death letter, highlighting modernist instability and uncertainty, especially that of the bourgeois man. This essay argues that Schnitzler makes his critique of anxiety increasingly explicit over time in his published writings, showing one’s social acceptance to be a catalyst for violence towards the self and others, while also continuing to problematize Viennese masculinity in his unpublished writings.

One of the most salient features of Heinrich Böll's short story “Wanderer, kommst du nach Spa…” (1950) is its prominent and liberal use of typographical ellipsis. The ellipses that permeate this wartime story both underline the theme of loss and enable the narrator to use his tale to exercise one last measure of resistance to his fate. As part of a first‐person narrative, the ellipses can be read as an assertion of narrative authority and authenticity. Through the refusal to say certain words and phrases and by rejecting physical and chronological restrictions, the young narrator rejects Nazi ideology and creates for himself a limited yet meaningful sense of freedom. His resistance is mirrored by the final image of the text, an indelible cross on the wall which, like a textual ellipsis, persistently marks that which has been erased.

In this article, I read contemporary African queer fiction as a tool employed by writers to represent and rehumanise queer identities in Sub-Saharan African societies. In these societies, heteropatriarchal authorities strive to disable queer agency by dehumanising queer subjects. I argue that African queer identities, desires, and experiences are controlled and restricted under the heterosexual gaze, which strives to ensure that human sexuality benefits patriarchy, promoting heterosexual desire as ‘natural’ and authentically African and pathologising homosexuality. African writers then employ fiction as a means of rehumanising queer subjects in these disabling heteronormative societies to grant voice and agency to identities that have been multifariously subjugated and/or deliberately erased, and fiction acts as a type of prosthesis, a term I borrow from disability studies. Rewriting such lives in fiction does not only afford discursive spaces to queer identities, but also reconstructs the queer person as a human subject worth the dignity that they are often denied. In the article, I analyse a selection of six short stories from the collections Queer Africa 2: New Stories and Fairytales for Lost Children to demonstrate how these stories function as prosthesis for queer people in disabling societies.

Among literary responses to contemporary migration to Germany, Terézia Mora’s short story “Selbstbildnis mit Geschirrtuch” stands out as a critical engagement with the various forms of exclusion migrants face. The story recasts the Holocaust-era refugee experience of the German-Jewish painters Felka Platek and Felix Nussbaum in contemporary Germany. Although others have considered the relation of Holocaust memory to migration, Mora approaches it from a novel perspective informed by Walter Benjamin’s notion of weak messianism and Jeanluc Nancy’s philosophy of negative community. Motifs of infernal descent are found throughout the story and dramatize the protagonist’s exclusion. Weak messianism and negative community shape the response to exclusion in the narrative. Specifically, the story dramatizes alternative forms of being together beyond linguistic borders. Accordingly, this paper demonstrates how the text interrupts the temporal, physical, and linguistic borders of German society, gesturing towards the possibility of collectivity not underwritten by exclusion of the other.