Translated From The Icelandic

An English translation of a recently discovered Icelandic adaptation of Bram Stoker's classic novel "Dracula" includes new characters, a re-worked plot, and annotations that provide literary, cultural, and historical context.

The mind-bending miniature historical epic is Sjón's specialty, and Moonstone: The Boy Who Never Was is no exception. But it is also Sjón's most realistic, accessible, and heartfelt work yet. It is the story of a young man on the fringes of a society that is itself at the fringes of the world--at what seems like history's most tumultuous, perhaps ultimate moment. Máni Steinn is queer in a society in which the idea of homosexuality is beyond the furthest extreme. His city, Reykjavik in 1918, is homogeneous and isolated and seems entirely defenseless against the Spanish flu, which has already torn through Europe, Asia, and North America and is now lapping up on Iceland's shores. And if the flu doesn't do it, there's always the threat that war will spread all the way north. And yet the outside world has also brought Icelanders cinema! And there's nothing like a dark, silent room with a film from Europe flickering on the screen to help you escape from the overwhelming threats--and adventures--of the night, to transport you, to make you feel like everything is going to be all right. For Máni Steinn, the question is whether, at Reykjavik's darkest hour, he should retreat all the way into this imaginary world, or if he should engage with the society that has so soundly rejected him.

Morkinskinna ("rotten parchment"), the first full-length chronicle of the kings of medieval Norway (1030-1157), forms the basis of the Icelandic chronicle tradition. Based ultimately on an original from ca. 1220, the single defective manuscript was written in Iceland ca. 1275. The present volume, the first translation of Morkinskinna in any language, makes this literary milestone available to a general readership, with introduction and commentary to clarify its position in the history of medieval Icelandic letters. The book is designed to be used by readers with no knowledge of Icelandic. The translation is keyed to, and may be used in conjunction with, the existing diplomatic editions. Notes on the manuscript problems, as well as introductory and appended matter, augment the text. Above all, Kari Ellen Gade's edition of the skaldic stanzas provides a substantial initial step toward a future edition of the Icelandic text: Morkinskinna is the first large-scale repository of skaldic verse. Morkinskinna also includes many semi-independent tales that recount the adventures of individual Icelanders at the Norwegian court. These tales, with their often humorous or ironic inflections, shift the focus of the chronicle from the deeds of the kings to the Icelandic perception of Norwegian royalty.

There are two Icelands. One is the island in the North Sea, occupied since before the arrival of the Vikings. The other is "Western Iceland," the communities throughout North America, settled by Icelandic immigrants in the 19th and 20th centuries, and still maintaining strong ties to their mother country. While the prominent role of women in the development of Western Iceland has long been acknowledged, there is little recognition of their contribution to its literary life. This collection of short stories and poems spans 75 years of writings. It includes translated work by little-known authors such as Undina, "a modest poet," as well as works in English by prominent writers such as Laura Goodman Salverson, twice a winner of the Governor-General's Award. From the hopefulness of the early immigration in the 1870s to the conflict of assimilation in the 1950s, the pieces reflect a range of experiences common to immigrant women from many cultures. Writings by Western Icelandic Women includes many works translated for the first time from their original Icelandic, and rescues from obscurity the voices and experiences of women as they struggled in a new country. It offers insight into the many obstacles, both personal and professional, that faced these pioneering writers. An introduction by Kirsten Wolf provides a literary and historical context, and is complemented by photographs and brief author biographies.

“Will appeal to readers of Elena Ferrante and Margaret Atwood . . . the unusual setting offers an interesting twist on the portrait of an artist as a young woman.” —Bookpage In 1960s Iceland, Hekla dreams of being a writer. In a nation of poets, where each household proudly displays leatherbound volumes of the Sagas, and there are more writers per capita than anywhere else in the world, there is only one problem: she is a woman. After packing her few belongings, including James Joyces’s Ulysses and a Remington typewriter, Hekla heads for Reykjavik with a manuscript buried in her bags. She moves in with her friend Jon, a gay man who longs to work in the theatre, but can only find dangerous, backbreaking work on fishing trawlers. Hekla’s opportunities are equally limited: marriage and babies, or her job as a waitress, in which harassment from customers is part of the daily grind. The two friends feel completely out of place in a small and conservative world. And yet that world is changing: JFK is shot. Hemlines are rising. In Iceland, another volcano erupts and Hekla meets a poet who brings to light harsh realities about her art—as she realizes she must escape to find freedom abroad, whatever the cost. Miss Iceland, a winner of two international book awards, comes from the acclaimed author of Hotel Silence, which received the Icelandic Literary Prize. “Only a great book can make you feel you’re really there, a thousand miles and a generation away. I loved it.” —Kit de Waal, author of My Name is Leon “[A] winning tale of friendship and self-fulfillment.” —Publishers Weekly, starred review

From the Nobel Prize-winning Icelandic author, a magnificent, epic novel—"funny, clever, sardonic and brilliant" (Annie Proulx)—at last available to contemporary American readers. Set in the early twentieth century, Independent People recalls both Iceland's medieval epics and such classics as Sigrid Undset's Kristin Lavransdatter. If Bjartur of Summerhouses, the book's protagonist, is an ordinary sheep farmer, his flinty determination to achieve independence is genuinely heroic and, at the same time, terrifying and bleakly comic. Having spent eighteen years in humiliating servitude, Bjartur wants nothing more than to raise his flocks unbeholden to any man. But Bjartur's spirited daughter wants to live unbeholden to him. What ensues is a battle of wills that is by turns harsh and touching, elemental in its emotional intensity and intimate in its homely detail. Vast in scope and deeply rewarding, Independent People is a masterpiece.