Slow of Elephants of Milan

Ángel Bonomini (1929-1994) is one of the great previously untranslated writers of Argentine fiction, a contemporary of Jorge Luis Borges, Adolfo Bioy Casares, Silvina Ocampo, and Julio Cortázar. His debut collection, The Novices of Lerna, was originally published in 1972, but Bonomini’s meditations on identity, surveillance, and isolation remain eerily prescient. In his lifetime, Bonomini was a two-time recipient of the prestigious Premio Konex. Jordan Landsman was born in New York City. After graduating from Binghamton University, he spent several years living in Buenos Aires, where he cocreated the BA Comedy Lab and taught literary workshops at Walrus Books. Ángel Bonomini's The Novices of Lerna was his first translation.

Praise for Ángel Bonomini:"I’m so enthralled by the book that one night, when Borges came over, I proposed we read the only story I hadn’t read yet: “The Novices of Lerna.” We were dazzled. The story is admirably told, with much wisdom, everything is spot on.”—Letter from Adolfo Bioy Casares to Ángel Bonomini, September 18, 1972“Bonomini’s imagination has a watercolor lightness that sets him apart from his contemporaries.”—Natasha Wimmer, The New York Review of Books“Jordan Landsman's excellent first English translation of The Novices of Lerna offers the opportunity to rescue Bonomini from undeserved oblivion.”—Alberto Manguel, The Times Literary Supplement"These surreal stories reckon with identity, perception, and existence... A beguiling blend of the cerebral and the visceral."—Kirkus Reviews"[Bonomini] makes a noteworthy English-language debut with this entrancing collection."—Publishers Weekly“A ghost of a book that haunts and perplexes, enticing each reader in with its mastery of language and craft.”—Asymptote"Bizarre and brilliant… once I finished The Novices of Lerna, I wanted to turn back to the start and read it all over again."—John Self, The Telegraph"Bonomini's fantastic collection [allows] the worlds of his stories to slither out and off the page, offer forbidden fruit, and shoot readers into a fallen and forgotten world where the real is absurd and the absurd is really the most true thing on offer."—The Rumpus“Bonomini regularly turns language on its head while stubbornly refusing to engage in simple moralism. Instead, through a menagerie of passionate, obsessive, and deranged personae, he suggests that we are mysteries even to ourselves."—Buenos Aires Herald"A welcome addition to Argentinian literature in translation—and to Weird fiction the world over."—Tobias Carroll, Reactor