A novel set in the world of modern art, loosely based on the life of the French Dadaist Marcel Duchamp. From the author of THE BOOK OF GOD.

In a house in a quiet street in North London, Helena struggles with her self-appointed task of writing a book about the reclusive American artist Joseph Cornell. At the same time she dreams and thinks about her sister Alice working in an orphanage in Chechnya. She is certain that Alice despises her for living a life of comfort and privilege, far away from the horrors of war; yet she knows too that her work is more than self-indulgence. How to reconcile these two visions? Enter Ed, a Czech journalist and photographer who claims he has been working in Chechnya and brings news of Alice, along with the request for a bed for the few days he has to be in London. Gabriel Josipovici’s sparkling new novel charts the course of those few days, as Joseph Cornell’s mysterious life and the strange boxes he constructed wage a silent struggle in Helena’s mind and spirit with the imperatives of the present.

We cannot understand the phenomenon of remembering without invoking its opposite, forgetting. Taking his cue from Beckett - 'only he who forgets remembers' - Josipovici uncovers a profound cultural shift from societies that celebrated ritual remembrance at fixed times and places, to our own Western world where the lack of such mechanisms leads to a fear of forgetting, to what Nietzsche diagnosed as an unhealthy sleeplessness that infects every aspect of our culture. Moving from the fear of Alzheimer's to invocations of 'Remember the Holocaust' and 'Remember Kosovo' by unscrupulous demagogues, from the burial rituals of rural societies to the Berlin and Vienna Holocaust Memorials, from eighteenth-century disquiet about the role of tombs and inscriptions to the late poems of Wallace Stevens, Josipovici has produced, in characteristic style, a small book with a very big punch. Gabriel Josipovici's novel The Cemetery in Barnes (2018) was shortlisted for the 2018 Goldsmiths Prize and longlisted for the 2019 Republic of Consciousness Prize.

The quality of today's literary writing arouses the strongest opinions. For novelist and critic Gabriel Josipovici, the contemporary novel in English is profoundly disappointing--a poor relation of its groundbreaking Modernist forebears. This agile and passionate book asks why. Modernism, Josipovici suggests, is only superficially a reaction to industrialization of a revolution in diction and form; essentially, it is art arriving at a consciousness of its own limits and responsibilities. And its origins are to be sought not in 1850 or even 1800, but in the early 1500s, with the crisis of society and perception that also led to the rise of Protestantism. With sophistication and persuasiveness, Josipovici charts some of Modernism's key stages, from Dürer, Rabelais, and Cervantes to the present, bringing together a rich array of artists, musicians, and writers both familiar and unexpected--including Beckett, Borges, Friedrich, Cézanne, Stevens, Robbe-Grillet, Beethoven, and Wordsworth. He concludes with a stinging attack on the current literary scene in Britain and America, which raises questions not only about national taste, but about contemporary culture itself. Gabriel Josipovici has spent a lifetime writing and writing about other writers. This book is a strident call to arms and a tour de force of literary, artistic, and philosophical explication that will stimulate anyone interested in art in the twentieth century and today.

Taking its name from Bach's Goldberg Variations, as well as inspiration from its formal structure, this work hybridizes breezy philosophical meditation and fragment-based novel. Most of the diffused story takes place in nineteenth-century England, where a Jewish writer by the name of Goldberg is commissioned by an incessantly thoughtful insomniac to create a story each day to be told that night, hopefully thus assuaging the man's sleeplessness.

A mysterious web of solitude, love, illness, and loss is seamlessly woven into a captivating historical and personal narrative in this poignant yet concise novel. As three characters move through their increasingly haunting lives, they discover how to piece together their past and recreate connections.

In a Hotel Garden is a provocative work by the English novelist once described by Sir Frank Kermode as "an admirable and rare example of the writer-critic." It is a captivating novella, written almost entirely in dialogue. In a Hotel Garden unfolds character and meaning with a lovely, meditative tension. The narrator Ben relates to his friends his enthralling encounter with a Jewish woman in the Dolomite Alps. The tale of her compulsive visit to a hotel garden in Siena--where her grandmother fell in love with a man soon to be a victim of the Holocaust--illuminates Ben's half-lived life, and raises the question of how we can ever come to terms with the destruction of the European Jews in our century. The Independent in England (where this novel first appeared) said, "Its [the novel's] enigmas are those of life itself, and Josipovici sets them before us with clarity, tact and compassion."

Fiction and non-fiction are two sides of the same coin. Or are they? Michael Penderecki is in flight. Someone has threatened to kill him. But who is the woman dead in the bathtub? And why does the voice of Yves Montand singing 'Les Feuilles Mortes' surge from the horn of an antiquated phonograph in an otherwise silent villa in Sils Maria? This is the most enigmatic - and melodramatic - of Gabriel Josipovici's novels to date. It is as though one of Magritte's paintings had come to life to the rhythms of a Bach Partita. A Winter in Zürau Fiction and non-fiction are two sides of the same coin. Or are they? Franz Kafka is in flight. After spitting blood and being diagnosed with tuberculosis in the summer of 1917, his thirty-fourth year, he escapes from Prague to join his sister Ottla in her smallholding in Upper Bohemia. He leaves behind, he hopes, a dreaded office job, a dominating father, an importunate fiancée and the hothouse literary culture of his native city. Free of all this, he believes, he will at last be able to make sense of his existence and of his strange compulsion to write stories and novels which, he knows, will bring him neither fame nor financial reward .But this is not fiction. It is an exploration of eight crucial months in the life of one of the greatest writers of the twentieth century, months of anguish and reflection preserved for us in his letters and journals of the time, and which resulted not just in the production of the famous Aphorisms but, as Josipovici shows in this compelling study, of some of his most resonant parables and story-fragments