A work of continental gloom that promises that no one gets out of here alive.
Kirkus Reviews

Available September 24, 2019

Doppelgänger

Fiction by Daša Drndić

Translated by S.D. Curtis Celia Hawkesworth

Longlisted for the Republic of Consciousness Prize 2019, a swift, biting novel from the late Croatian master, Daša Drndić.

Two elderly people, Artur and Isabella, meet and have a passionate sexual encounter on New Year’s Eve. Details of the lives of Artur, a retired Yugoslav army captain, and Isabella, a Holocaust survivor, are listed in police dossiers. As they fight loneliness and aging, they take comfort in small things: for Artur, a collection of 274 hats; for Isabella, a family of garden gnomes who live in her apartment. Later, we meet the ill-fated Pupi, who dreamed of becoming a sculptor but instead became a chemist and then a spy. As Eileen Battersby wrote, “As he stands, in the zoo, gazing at a pair of rhinos, in a city most likely present-day Belgrade, this battered Everyman feels very alone: ‘I would like to tell someone, anyone, I’d like to tell someone: I buried Mother today.’” Pupi sets out to correct his family’s crimes by returning silverware to its original Jewish owner through the help of an unlikely friend, a pawnbroker.

Described by Daša Drndić as “my ugly little book,” Doppelgänger was her personal favorite.

Editions: Paperback w/ flapsEbook

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Paperback w/ flaps (published September 24, 2019)

ISBN
978-0-8112-2891-6
Price US
15.95
Trim Size
5x8
Page Count
160

Ebook

ISBN
9780811228923
A work of continental gloom that promises that no one gets out of here alive.
Kirkus Reviews
Doppelgänger, a boldly virtuosic novel in two parts, delighting in Beckettian high art, may surprise even her established readers.
The Financial Times
Her incisive skill and radical style render potentially grim reading compulsive. She was a voice of–and for–our times.
Times Literary Supplement
Fragmented but not disjointed, Beckettian as well as Bernhardian, Doppelgänger is complex, dark and funny: a strange gem.
—Claire Messud, The Guardian