The Dedalus Book of Spanish Fantasy

by Margaret Jull Costa (Editor), Annella (Editor)

Overview

The Dedalus Book of Spanish Fantasy is an ambitious and wide-ranging collection of texts from the middle of the 19th century to the present day, by authors writing in Castilian, Basque, Catalan and Gallego.

"The Dedalus Book of Spanish Fantasy has many revelations for English-language readers on the lookout for something at once ancient and brand-new: the darkly baroque, the Goya-grotesque, or a surreal modernity, most of it touched by the forces of death or metamorphosis."
Faren Miller in Locus

Product Details

ISBN-13:	9781873982181
Publisher:	Dedalus, Limited
Publication date:	03/18/1999
Pages:	359
Product dimensions:	6.00(w) x 9.00(h) x 1.00(d)

About the Author

Margaret Jull Costa has translated the works of many Spanish and Portuguese writers. She won the Portuguese Translation Prize for The Book of Disquiet by Fernando Pessoa in 1992 and for The Word Tree by Teolinda Gersão in 2012, and was shortlisted for the following books: The Relic (1996) by Eça de Queiroz, The Migrant Painter of Birds (2002) by Lídia Jorge, The City and the Mountains (2009) by Eça de Queiroz, and The Land at the End of the World (2012) by António Lobo Antunes. With Javier Marías, she won the 1997 International IMPAC Dublin Literary Award for A Heart So White, and, in 2000 and 2011, she won the Weidenfeld Translation Prize for, respectively, All the Names and The Elephant's Journey, both by Jose Saramago.In 2008, she won the Pen Book-of-the Month-Club Translation Prize and the Oxford Weidenfeld Translation Prize for The Maias by Eça de Queiroz. In 2015, she won the Marsh Children's Fiction in Translation Award for The Adventures of Shola by Bernardo Atxaga, and in 2017, with her co-translator Robin Patterson, she won the Best Translated Book Award for Chronicle of the Murdered House by Lúcio Cardoso. In 2018 she won the Premio Vall-Inclan for On the Edge by Rafael Chirbes.

Editorial Reviews

Tales of the supernatural have an old tradition in European literature, and their better-known forms -- a young man encounters a lovely woman who later proves to have been dead for years, a clever attempt to outwit Death backfires, the desecrator of a holy site suffers a terrible vengeance -- are all well represented here. — Gregory Feeley

The Washington Post

...[H]as many revelations for English-language readers on the lookout for something at once ancient and brand-new; the darkly baroque, the Goya-grotesque, or a surreal modernity, most of it touched by the forces of death or metamorphosis.
— Locus

Faren Miller