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While best remembered for her revolutionary work, A Vindication of the Rights of Woman (1792), renowned feminist, author, and thinker Mary Wollstonecraft’s most popular book during her lifetime was a remarkable travel narrative, Letters Written in Sweden, Norway, and Denmark.

The impetus behind Wollstonecraft’s journey couldn’t be more dramatic: Her relationship with her lover on rocky ground, Wollstonecraft sets out for Scandinavia in order to retrieve a stolen treasure ship for him. As she travels across the dramatic landscape, she writes vividly of the people she encounters, events she witnesses, and the sublime natural landscape. Yet the letters also reflect her anguish as she comes to realize that her love affair is fated to end.

In its day, Letters Written in Sweden, Norway, and Denmark inspired hordes of readers to travel to Scandinavia. Now, with a new introduction by acclaimed travel author and novelist Joanna Kavenna, Mary Wollstonecraft's remarkable Letters will enchant a new generation of readers and world travelers.

“Joy Sorman’s Life Sciences takes an overtly political premise—the medical establishment’s inability or perhaps refusal to take seriously the physical struggles of women—and transforms it into a surreal and knife-deep work of fiction that asks: What pain can we abide, and what pain must we fight back against, even if the fight hurts more than the disease itself?” —Lena Dunham, The New York Times Book Review, Editors' Choice

Ninon Moise is cursed. So is her mother Esther, as was every eldest female member of her family going back to the Middle Ages. Each generation is marked by a uniquely obscure disease, illness, or ailment—one of her ancestors was patient zero in the sixteenth-century dancing plague of Strasbourg, while Esther has a degenerative eye disease. Ninon grows up comforted and fascinated by the recitation of these bizarre, inexplicable medical mysteries, forewarned that something will happen to her, yet entirely unprepared for how it will alter her life. Her own entry into this litany of maladies appears one morning in the form of an excruciating burning sensation on her skin, from her wrists to her shoulders.

Embarking on a dizzying and frustrating cycle of doctors, specialists, procedures, needles, scans, and therapists, seventeen-year-old Ninon becomes consumed by her need to receive a diagnosis and find a cure for her ailment. She seeks to break the curse and reclaim her body by any means necessary, through increasing isolation and failed treatment after failed treatment, even as her life falls apart. A provocative and empathic questioning of illness, remedy, transmission, and health, Life Sciences poignantly questions our reliance upon science, despite its limitations, to provide all the answers.

“Joy Sorman’s Life Sciences takes an overtly political premise—the medical establishment’s inability or perhaps refusal to take seriously the physical struggles of women—and transforms it into a surreal and knife-deep work of fiction that asks: What pain can we abide, and what pain must we fight back against, even if the fight hurts more than the disease itself?” —Lena Dunham, The New York Times Book Review, Editors' Choice

Ninon Moise is cursed. So is her mother Esther, as was every eldest female member of her family going back to the Middle Ages. Each generation is marked by a uniquely obscure disease, illness, or ailment—one of her ancestors was patient zero in the sixteenth-century dancing plague of Strasbourg, while Esther has a degenerative eye disease. Ninon grows up comforted and fascinated by the recitation of these bizarre, inexplicable medical mysteries, forewarned that something will happen to her, yet entirely unprepared for how it will alter her life. Her own entry into this litany of maladies appears one morning in the form of an excruciating burning sensation on her skin, from her wrists to her shoulders.

Embarking on a dizzying and frustrating cycle of doctors, specialists, procedures, needles, scans, and therapists, seventeen-year-old Ninon becomes consumed by her need to receive a diagnosis and find a cure for her ailment. She seeks to break the curse and reclaim her body by any means necessary, through increasing isolation and failed treatment after failed treatment, even as her life falls apart. A provocative and empathic questioning of illness, remedy, transmission, and health, Life Sciences poignantly questions our reliance upon science, despite its limitations, to provide all the answers.

A hilarious, darkly comic graphic retelling of Shakespeare’s Hamlet in radically condensed prose by legendary Swedish children’s author Barbro Lindgren and illustrator Anna Höglund.

Look Hamlet.

Hamlet not happy.

Hamlet’s mommy dumb.

Hamlet’s daddy dead.

So begins this wonderfully strange, dark, and hilarious picture book version of Shakespeare’s greatest tragedy boiled down to its smallest possible size: 100 words, give or take, and fifteen etchings that look like the lovechild of Beatrix Potter and Edward Gorey.

In our despondent antihero, a lop-eared bunny Hamlet with handbag in tow, is somehow embodied all the tremendous pathos of Shakespeare’s Danish Prince. And in legendary Swedish children’s author Barbro Lindgren’s pithy prose resides the poetry of the original, reworked for the era of memes and short attention spans.

Bold and brilliant, irreverent and humane, Look Hamlet is the perfect irreverent gift for Shakespeare readers of all ages. As the Bard himself wrote: “brevity is the soul of wit.”

A hilarious, darkly comic graphic retelling of Shakespeare’s Hamlet in radically condensed prose by legendary Swedish children’s author Barbro Lindgren and illustrator Anna Höglund.

Look Hamlet.

Hamlet not happy.

Hamlet’s mommy dumb.

Hamlet’s daddy dead.

So begins this wonderfully strange, dark, and hilarious picture book version of Shakespeare’s greatest tragedy boiled down to its smallest possible size: 100 words, give or take, and fifteen etchings that look like the lovechild of Beatrix Potter and Edward Gorey.

In our despondent antihero, a lop-eared bunny Hamlet with handbag in tow, is somehow embodied all the tremendous pathos of Shakespeare’s Danish Prince. And in legendary Swedish children’s author Barbro Lindgren’s pithy prose resides the poetry of the original, reworked for the era of memes and short attention spans.

Bold and brilliant, irreverent and humane, Look Hamlet is the perfect irreverent gift for Shakespeare readers of all ages. As the Bard himself wrote: “brevity is the soul of wit.”

Restless Classics presents a trenchant new edition of Machiavelli’s most powerful works of political philosophy, including The Prince and selections from Discourses on Livy, introduced by New Yorker writer and biographer of Che Guevara Jon Lee Anderson.

Few authors achieve such notoriety that their name becomes an adjective. A "Machiavellian” politician is not simply one who is conniving; the term also refers to a tyrant who is enamored with all the power he (it is usually a “he”) can attain. With so many Machiavellian politicians on the world stage today—Donald Trump, Vladimir Putin, Kim Jong Un, Mohammed bin Salman, Viktor Orbán, Jair Bolsonaro, et alia—Machiavelli's masterpieces The Prince and Discourses on Livy are at once timely and eternal.

Widely held as a foundational work of modern political philosophy, The Prince can be read as a practical guide for ruling or a satirical guide on how not to rule. Machiavelli prefaces the book with a letter addressed to Lorenzo de’ Medici, the infamous ruler of Florence, both admonishing and praising him for his governance. The sister volume, Discourses on Livy, offers an analysis of ancient Roman history that supports Machiavelli’s claims by lauding the merits of a republic.

As Jon Lee Anderson explores in his incisive introduction, Machiavelli’s hard-line outlook on power, politics, war, governance, and ethics has frightening parallels to the current trend toward authoritarianism in our global politics. Machiavelli: On Politics and Power is essential reading for anyone seeking to understand the psychology and methods of power-hungry leaders, past and present.

Restless Classics presents a trenchant new edition of Machiavelli’s most powerful works of political philosophy, including The Prince and selections from Discourses on Livy, introduced by New Yorker writer and biographer of Che Guevara Jon Lee Anderson.

Few authors achieve such notoriety that their name becomes an adjective. A "Machiavellian” politician is not simply one who is conniving; the term also refers to a tyrant who is enamored with all the power he (it is usually a “he”) can attain. With so many Machiavellian politicians on the world stage today—Donald Trump, Vladimir Putin, Kim Jong Un, Mohammed bin Salman, Viktor Orbán, Jair Bolsonaro, et alia—Machiavelli's masterpieces The Prince and Discourses on Livy are at once timely and eternal.

Widely held as a foundational work of modern political philosophy, The Prince can be read as a practical guide for ruling or a satirical guide on how not to rule. Machiavelli prefaces the book with a letter addressed to Lorenzo de’ Medici, the infamous ruler of Florence, both admonishing and praising him for his governance. The sister volume, Discourses on Livy, offers an analysis of ancient Roman history that supports Machiavelli’s claims by lauding the merits of a republic.

As Jon Lee Anderson explores in his incisive introduction, Machiavelli’s hard-line outlook on power, politics, war, governance, and ethics has frightening parallels to the current trend toward authoritarianism in our global politics. Machiavelli: On Politics and Power is essential reading for anyone seeking to understand the psychology and methods of power-hungry leaders, past and present.

With new illustrations and a brilliant original introduction by New Yorker writer and author of My Life in Middlemarch Rebecca Mead, the Restless Classics edition of Middlemarch presents George Eliot’s masterpiece of Victorian fiction in an appealing new light.

Long regarded as one of the greatest of the great English-language novels, Middlemarch by George Eliot has endured as the archetypal Victorian novel and an eternally resonant exploration of society and the individual. Centuries removed from the world of the landed gentry in 1830s England, the characters of Middlemarch remain as exquisitely drawn and deeply alive as any in literature: the pedantic, obsessive Reverend Casaubon, the idealistic Dr. Lydgate, and the spirited, striving Dorothea Brooke.

A novel of marriage, Eliot’s “study of Provincial Life” is also a strikingly fresh commentary on scientific and technological change, cultural and class divides, and the upheavals of a rural community experiencing global transformation. In her insightful introduction, Rebecca Mead, New Yorker writer and author of My Year in Middlemarch, explores Eliot’s “meliorism”—her belief that individuals can improve society in small, everyday ways. Dorothea’s successes and failures not only in love but as an ardent social reformer will resonate with all of us who look at the world today and ask, as Dorothea did in her time, “What could she do, what ought she to do?” With bold illustrations by artist Keren Katz, the Restless Classics edition of Middlemarch is a thoroughly modern edition of one of the most important novels ever written.

Praise for Middlemarch

“Middlemarch is so careful to correct any habit to side with one person rather than another that the narrator even corrects herself.”
—John Mullan, author of What Matters in Jane Austen?

“A novel without weaknesses, it renews itself for every generation.”
—Martin Amis, author of Inside Story

“Middlemarch, the magnificent book which with all its imperfections, is one of the few English novels written for grown-up people.”
—Virginia Woolf

“Middlemarch shows us the contours and indeed the very language of the characters’ inner lives.”
—Michael Gorra, author of Portrait of a Novel: Henry James and the Making of an American Masterpiece

With new illustrations and a brilliant original introduction by New Yorker writer and author of My Life in Middlemarch Rebecca Mead, the Restless Classics edition of Middlemarch presents George Eliot’s masterpiece of Victorian fiction in an appealing new light.

Long regarded as one of the greatest of the great English-language novels, Middlemarch by George Eliot has endured as the archetypal Victorian novel and an eternally resonant exploration of society and the individual. Centuries removed from the world of the landed gentry in 1830s England, the characters of Middlemarch remain as exquisitely drawn and deeply alive as any in literature: the pedantic, obsessive Reverend Casaubon, the idealistic Dr. Lydgate, and the spirited, striving Dorothea Brooke.

A novel of marriage, Eliot’s “study of Provincial Life” is also a strikingly fresh commentary on scientific and technological change, cultural and class divides, and the upheavals of a rural community experiencing global transformation. In her insightful introduction, Rebecca Mead, New Yorker writer and author of My Year in Middlemarch, explores Eliot’s “meliorism”—her belief that individuals can improve society in small, everyday ways. Dorothea’s successes and failures not only in love but as an ardent social reformer will resonate with all of us who look at the world today and ask, as Dorothea did in her time, “What could she do, what ought she to do?” With bold illustrations by artist Keren Katz, the Restless Classics edition of Middlemarch is a thoroughly modern edition of one of the most important novels ever written.

Praise for Middlemarch

“Middlemarch is so careful to correct any habit to side with one person rather than another that the narrator even corrects herself.”
—John Mullan, author of What Matters in Jane Austen?

“A novel without weaknesses, it renews itself for every generation.”
—Martin Amis, author of Inside Story

“Middlemarch, the magnificent book which with all its imperfections, is one of the few English novels written for grown-up people.”
—Virginia Woolf

“Middlemarch shows us the contours and indeed the very language of the characters’ inner lives.”
—Michael Gorra, author of Portrait of a Novel: Henry James and the Making of an American Masterpiece

Winner of the Premio Planeta—the Spanish-speaking world’s richest literary prize

“The spirit of Stieg Larsson visits Mexico City" (Kirkus): Milena, or The Most Beautiful Femur in the World is a pulse-pounding international political thriller about sex, power, and information—and the extreme lengths people go to get them.

When Milena’s lover and protector, the chief of Mexico’s most important newspaper, dies in her arms, she knows it’s only a matter of time before the ruthless thugs behind the human-trafficking ring that kidnapped her from her Croatian village catch her and force her back into sex slavery.

Soon, three comrades bound together by childhood friendships, romantic entanglements, and a restless desire for justice are after her as well—but for different reasons. The new chief of the newspaper, columnist Tomás Arizmendi, must retrieve Milena’s mysterious black book before the media empire he has inherited is torn asunder, while dubious intelligence expert Jaime Lemus wants to use the sensitive information the book contains about the crimes of the world’s power elite to further his political puppeteering. Lastly, the noblest of the trio, rising politician Amelia Navarro has made it her mission to protect women and children from the abuses of men in power.

Told at a heartracing pace and full of the journalistic detail and sly humor that Mexican master Jorge Zepeda Patterson has become renowned for, Milena, or The Most Beautiful Femur in the World is a romp across Europe and the Americas that traces the vast networks of capital, data, crime, and coerced labor that bind together today’s globalized world. Yet, in the beautiful and tenacious Milena, we are reminded that the survivors of the darker facets of modernity are not mere statistics, but living, breathing, individuals.

Winner of the Premio Planeta—the Spanish-speaking world’s richest literary prize

“The spirit of Stieg Larsson visits Mexico City" (Kirkus): Milena, or The Most Beautiful Femur in the World is a pulse-pounding international political thriller about sex, power, and information—and the extreme lengths people go to get them.

When Milena’s lover and protector, the chief of Mexico’s most important newspaper, dies in her arms, she knows it’s only a matter of time before the ruthless thugs behind the human-trafficking ring that kidnapped her from her Croatian village catch her and force her back into sex slavery.

Soon, three comrades bound together by childhood friendships, romantic entanglements, and a restless desire for justice are after her as well—but for different reasons. The new chief of the newspaper, columnist Tomás Arizmendi, must retrieve Milena’s mysterious black book before the media empire he has inherited is torn asunder, while dubious intelligence expert Jaime Lemus wants to use the sensitive information the book contains about the crimes of the world’s power elite to further his political puppeteering. Lastly, the noblest of the trio, rising politician Amelia Navarro has made it her mission to protect women and children from the abuses of men in power.

Told at a heartracing pace and full of the journalistic detail and sly humor that Mexican master Jorge Zepeda Patterson has become renowned for, Milena, or The Most Beautiful Femur in the World is a romp across Europe and the Americas that traces the vast networks of capital, data, crime, and coerced labor that bind together today’s globalized world. Yet, in the beautiful and tenacious Milena, we are reminded that the survivors of the darker facets of modernity are not mere statistics, but living, breathing, individuals.

From “one of Iran's most important living fiction writers” (The Guardian) comes a fantastically imaginative story of love and war narrated by two angel scribes perched on the shoulders of a shell-shocked Iranian soldier who’s searching for the mysterious woman haunting his dreams.

Before he enlisted as a soldier in the Iran–Iraq war and disappeared, Amir Yamini was a carefree playboy whose only concerns were seducing women and riling his religious family. Five years later, his mother and sister Reyhaneh find him in a mental hospital for shell-shocked soldiers, his left arm and most of his memory lost. Amir is haunted by the vision of a mysterious woman whose face he cannot see—the crescent moon on her forehead shines too brightly. He names her Moon Brow.

Back home in Tehran, the prodigal son is both hailed as a living martyr to the cause of Ayatollah Khomeini’s Revolution and confined as a dangerous madman. His sense of humor, if not his sanity, intact, Amir cajoles Reyhaneh into helping him escape the garden walls to search for Moon Brow. Piecing together the puzzle of his past, Amir decides there’s only one solution: he must return to the battlefield and find the remains of his severed arm—and discover its secret.

All the while, to angels sit on our hero’s shoulders and inscribe the story in enthrallingly distinctive prose. Wildly inventive and radically empathetic, steeped in Persian folklore and contemporary Middle East history, Moon Brow is the great Iranian novelist Shahriar Mandanipour’s unforgettable epic of love, war, morality, faith, and family.

From “one of Iran's most important living fiction writers” (The Guardian) comes a fantastically imaginative story of love and war narrated by two angel scribes perched on the shoulders of a shell-shocked Iranian soldier who’s searching for the mysterious woman haunting his dreams.

Before he enlisted as a soldier in the Iran–Iraq war and disappeared, Amir Yamini was a carefree playboy whose only concerns were seducing women and riling his religious family. Five years later, his mother and sister Reyhaneh find him in a mental hospital for shell-shocked soldiers, his left arm and most of his memory lost. Amir is haunted by the vision of a mysterious woman whose face he cannot see—the crescent moon on her forehead shines too brightly. He names her Moon Brow.

Back home in Tehran, the prodigal son is both hailed as a living martyr to the cause of Ayatollah Khomeini’s Revolution and confined as a dangerous madman. His sense of humor, if not his sanity, intact, Amir cajoles Reyhaneh into helping him escape the garden walls to search for Moon Brow. Piecing together the puzzle of his past, Amir decides there’s only one solution: he must return to the battlefield and find the remains of his severed arm—and discover its secret.

All the while, to angels sit on our hero’s shoulders and inscribe the story in enthrallingly distinctive prose. Wildly inventive and radically empathetic, steeped in Persian folklore and contemporary Middle East history, Moon Brow is the great Iranian novelist Shahriar Mandanipour’s unforgettable epic of love, war, morality, faith, and family.

Winner of the Polityka Passport Award

Winner of the Kościelski Award

A revelatory oral history of the people who suffered, rebelled, and survived under the secretive dictatorship of Enver Hoxha in Albania, one of the twentieth century’s most brutal and Kafkaesque regimes, from award-winning Polish journalist Margo Rejmer.

For nearly half a century Albania was held captive by one man. A cruel dictator with a deep paranoid streak, Enver Hoxha sealed the country’s borders, severed alliances, and enacted a totalitarian regime of gulags and purges. Many thousands suffered and died in silence, a silence that lingers today: thirty years after the end of Hoxha’s regime, its victims are still waiting for justice.

In Mud Sweeter than Honey, Albanians break the silence. Margo Rejmer spent years in Albania gathering interviews that shed light on the four decades of Hoxha’s rule and virtually every walk of life: teachers and children, imprisoned and exiled writers, nuns and factory workers. She arranges the voices of her interlocutors into a chorus that bears witness to how ordinary people lived and died. We are immersed in desperate border crossings, prison revolts, and everyday struggles to make a living. We meet a writer who finds secret freedom in a tiny village library of banned books, overlooked by censors. We meet a man who still only speaks in a whisper, afraid of being overheard.

While Albanians endured surveillance, imprisonment, and torture under Hoxha, they also read books and fell in love, raised families and found ways to survive. In the tradition of Svetlana Alexievich, Mud Sweeter than Honey is our most vivid, intimate portrait available in English of this little-understood corner of Europe.

Winner of the Polityka Passport Award

Winner of the Kościelski Award

A revelatory oral history of the people who suffered, rebelled, and survived under the secretive dictatorship of Enver Hoxha in Albania, one of the twentieth century’s most brutal and Kafkaesque regimes, from award-winning Polish journalist Margo Rejmer.

For nearly half a century Albania was held captive by one man. A cruel dictator with a deep paranoid streak, Enver Hoxha sealed the country’s borders, severed alliances, and enacted a totalitarian regime of gulags and purges. Many thousands suffered and died in silence, a silence that lingers today: thirty years after the end of Hoxha’s regime, its victims are still waiting for justice.

In Mud Sweeter than Honey, Albanians break the silence. Margo Rejmer spent years in Albania gathering interviews that shed light on the four decades of Hoxha’s rule and virtually every walk of life: teachers and children, imprisoned and exiled writers, nuns and factory workers. She arranges the voices of her interlocutors into a chorus that bears witness to how ordinary people lived and died. We are immersed in desperate border crossings, prison revolts, and everyday struggles to make a living. We meet a writer who finds secret freedom in a tiny village library of banned books, overlooked by censors. We meet a man who still only speaks in a whisper, afraid of being overheard.

While Albanians endured surveillance, imprisonment, and torture under Hoxha, they also read books and fell in love, raised families and found ways to survive. In the tradition of Svetlana Alexievich, Mud Sweeter than Honey is our most vivid, intimate portrait available in English of this little-understood corner of Europe.

In exiled Iranian author Javad Djavahery’s captivating English debut, a youthful betrayal during a summer on the Caspian sea has far-reaching consequences for a group of friends as their lives are irrevocably altered by the Revolution.

For our unnamed confessor, the summer months spent on the Caspian Sea during the 1970s are a magically transformative experience. There, he is not the “poor relative from the North,” but a welcome guest at his wealthy cousin Nilou’s home and the gatekeeper of her affections. He revels in the power of orchestrating the attentions of her many admirers, granting and denying access to her would-be lovers. But in a moment of jealousy and youthful bravado, he betrays and humiliates an unlikely suitor, setting into motion a series of events that will have drastic repercussions for all of them as the country is forever transformed by the Iranian Revolution a few short years later.

Over the next twenty years, the lingering effects of that betrayal set the friends on radically different paths in the wake of political, religious, and cultural upheaval. Their surprising final reunion reveals the consequences of revenge and self-preservation as they each must decide whether and how to forget the past. Urgent and gorgeously written, My Part of Her captures the innocence of youth, the folly of love, and the capriciousness of fate as these friends find themselves on opposing sides of the seismic rifts of history.

In exiled Iranian author Javad Djavahery’s captivating English debut, a youthful betrayal during a summer on the Caspian sea has far-reaching consequences for a group of friends as their lives are irrevocably altered by the Revolution.

For our unnamed confessor, the summer months spent on the Caspian Sea during the 1970s are a magically transformative experience. There, he is not the “poor relative from the North,” but a welcome guest at his wealthy cousin Nilou’s home and the gatekeeper of her affections. He revels in the power of orchestrating the attentions of her many admirers, granting and denying access to her would-be lovers. But in a moment of jealousy and youthful bravado, he betrays and humiliates an unlikely suitor, setting into motion a series of events that will have drastic repercussions for all of them as the country is forever transformed by the Iranian Revolution a few short years later.

Over the next twenty years, the lingering effects of that betrayal set the friends on radically different paths in the wake of political, religious, and cultural upheaval. Their surprising final reunion reveals the consequences of revenge and self-preservation as they each must decide whether and how to forget the past. Urgent and gorgeously written, My Part of Her captures the innocence of youth, the folly of love, and the capriciousness of fate as these friends find themselves on opposing sides of the seismic rifts of history.

Nest of Worlds is the first novel to appear in English from contemporary Polish science fiction master Marek S. Huberath. This metafictional adventure, owing as much to Borges, Saramago, and even Thomas More as it does to Stanislaw Lem, describes a world where every thirty-five years, all residents must move to a new “Land,” each a rigid caste society based on hair color, and each person bears a Significant Name that foretells the manner of their deaths. As new arrivals in the land of Davabel, Gavein Throzz, now a high-ranking "black" and Ra Mahleiné, a lowly “white,” defy the authorities who try to separate them as they struggle to build their new lives.

Soon, Gavein finds himself at the center of an epidemic of deaths, though he himself remains suspiciously unharmed. He discovers a book titled Nest of Worlds, populated by characters busy reading their own versions of Nest of Worlds—and the key to solving the mysterious epidemic may lie within this even more mysterious novel. Nest of Worlds is a riveting and mind-bending tour through the nature of narrative, reality, love, and the darkest aspects of human nature.

The 100th Anniversary Edition of Virginia Woolf’s timely, overlooked second novel—a remarkable story of two women navigating the possibilities opened up by the struggle for women’s suffrage—introduced for Restless Classics by bestselling author of Fates and Furies Lauren Groff and illustrated by graphic artist Kristen Radtke.

Since its publication in 1919, Virginia Woolf’s second novel has been largely dismissed as “traditional”—but reading the book more closely today shows us just how prescient and unconventional it was. On its surface, Night and Day plays with the tropes of Shakespearean comedy: We follow the romantic endeavors of two friends, Katharine Hilbery and Mary Datchet, as love is confessed and rebuffed, partners switched, weddings planned and cancelled, until we finally arrive at two engagements. But these dramas play out against the first steps of the women’s suffrage movement, as women’s roles in society fitfully started to shift away from charm, subservience, and self-sacrifice toward equal partnership. Ultimately, Woolf’s novel is a subversive challenge to the male-writer establishment of the Edwardian age—Henry James, E.M. Forster, their forebears and successors—that undercuts the unequal gender dialectic on which their plots depend.

The Virginia Woolf of Night and Day is every bit as brilliant, funny, sharp, and imbued with a deep love of language as in her celebrated later works Mrs. Dalloway and To the Lighthouse. What makes Night and Day so remarkable is its devotion to “real life.” As bestselling author of Fates and Furies Lauren Groff writes in her introduction, “Virginia Woolf, in pushing outward in this book toward an articulation of a new and better kind of marriage, doesn’t stop for a moment to try to seduce the reader into loving her characters—she is too fixated on breaking new ground and exploring her ideas.”

This edition, beautifully illustrated by Kristen Radtke, celebrates the 100th anniversary of this key work not only of the Woolf canon, but also of the vital history of feminist literature.

Kirkus Reviews Best Nonfiction of 2020

From the daring Peruvian essayist and provocateur behind Sexographies comes a fierce and funny exploration of sex, pregnancy, and motherhood that delves headlong into our fraught fascination with human reproduction.

Women play all the time with the great power that’s been conferred upon us: it’s fun to think about reproducing. Or not reproducing. Or walking around in a sweet little dress with a round belly underneath that will turn into a baby to cuddle and spoil. When you’re fifteen, the idea is fascinating, it attracts you like a piece of chocolate cake. When you’re thirty, the possibility attracts you like an abyss.

Gabriela Wiener is not one to shy away from unpleasant truths or to balk at a challenge. She began her writing career by infiltrating Peru’s most dangerous prison, going all in at swingers clubs, ingesting ayahuasca in the Amazon jungle. So at 30, when she gets unexpectedly pregnant, she looks forward to the experience the way a mountain climber approaches a precipitous peak.

With a scientist’s curiosity and a libertine’s unbridled imagination, Wiener hungrily devours every scrap of information and misinformation she encounters during the nine months of her pregnancy. She ponders how pleasure and pain always have something to do with things entering or exiting your body. She laments that manuals for pregnant women don’t prepare you for ambushes of lust or that morning sickness is like waking up with a hangover and a guilty conscience all at once. And she tries to navigate the infinity of choices and contradictory demands a pregnant woman confronts, each one amplified to a life-and-death decision.

While pregnant women are still placed on pedestals, or used as political battlegrounds, or made into passive objects of study, Gabriela Wiener defies definition. With unguarded humor and breathtaking directness, Nine Moons questions the dogmas, upends the stereotypes, and embraces all the terror, beauty, and paradoxes of the propagation of the species.

Kirkus Reviews Best Nonfiction of 2020

From the daring Peruvian essayist and provocateur behind Sexographies comes a fierce and funny exploration of sex, pregnancy, and motherhood that delves headlong into our fraught fascination with human reproduction.

Women play all the time with the great power that’s been conferred upon us: it’s fun to think about reproducing. Or not reproducing. Or walking around in a sweet little dress with a round belly underneath that will turn into a baby to cuddle and spoil. When you’re fifteen, the idea is fascinating, it attracts you like a piece of chocolate cake. When you’re thirty, the possibility attracts you like an abyss.

Gabriela Wiener is not one to shy away from unpleasant truths or to balk at a challenge. She began her writing career by infiltrating Peru’s most dangerous prison, going all in at swingers clubs, ingesting ayahuasca in the Amazon jungle. So at 30, when she gets unexpectedly pregnant, she looks forward to the experience the way a mountain climber approaches a precipitous peak.

With a scientist’s curiosity and a libertine’s unbridled imagination, Wiener hungrily devours every scrap of information and misinformation she encounters during the nine months of her pregnancy. She ponders how pleasure and pain always have something to do with things entering or exiting your body. She laments that manuals for pregnant women don’t prepare you for ambushes of lust or that morning sickness is like waking up with a hangover and a guilty conscience all at once. And she tries to navigate the infinity of choices and contradictory demands a pregnant woman confronts, each one amplified to a life-and-death decision.

While pregnant women are still placed on pedestals, or used as political battlegrounds, or made into passive objects of study, Gabriela Wiener defies definition. With unguarded humor and breathtaking directness, Nine Moons questions the dogmas, upends the stereotypes, and embraces all the terror, beauty, and paradoxes of the propagation of the species.

Kirkus Reviews Best Nonfiction of 2020

From the daring Peruvian essayist and provocateur behind Sexographies comes a fierce and funny exploration of sex, pregnancy, and motherhood that delves headlong into our fraught fascination with human reproduction.

Women play all the time with the great power that’s been conferred upon us: it’s fun to think about reproducing. Or not reproducing. Or walking around in a sweet little dress with a round belly underneath that will turn into a baby to cuddle and spoil. When you’re fifteen, the idea is fascinating, it attracts you like a piece of chocolate cake. When you’re thirty, the possibility attracts you like an abyss.

Gabriela Wiener is not one to shy away from unpleasant truths or to balk at a challenge. She began her writing career by infiltrating Peru’s most dangerous prison, going all in at swingers clubs, ingesting ayahuasca in the Amazon jungle. So at 30, when she gets unexpectedly pregnant, she looks forward to the experience the way a mountain climber approaches a precipitous peak.

With a scientist’s curiosity and a libertine’s unbridled imagination, Wiener hungrily devours every scrap of information and misinformation she encounters during the nine months of her pregnancy. She ponders how pleasure and pain always have something to do with things entering or exiting your body. She laments that manuals for pregnant women don’t prepare you for ambushes of lust or that morning sickness is like waking up with a hangover and a guilty conscience all at once. And she tries to navigate the infinity of choices and contradictory demands a pregnant woman confronts, each one amplified to a life-and-death decision.

While pregnant women are still placed on pedestals, or used as political battlegrounds, or made into passive objects of study, Gabriela Wiener defies definition. With unguarded humor and breathtaking directness, Nine Moons questions the dogmas, upends the stereotypes, and embraces all the terror, beauty, and paradoxes of the propagation of the species.

On June 23rd, 1914, the legendary División del Norte, commanded by General Francisco “Pancho” Villa, defeated the forces of then-president Victoriano Huerta and took the city of Zacatecas. After the decisive battle, the federales were unable to recover. The path to Mexico City—and ultimate victory—was clear for Villa and the revolutionaries.

In this remarkable graphic novel, Paco Ignacio Taibo II (a.k.a. PIT)—the prolific historian, biographer of Che Guevara and Pancho Villa, as well as the founder of Mexican neopolicial fiction—brings his tremendous storytelling skills to bear, united with stunning illustrations by the artist Eko that evoke traditional Day of the Dead imagery. An unforgettable window onto the Mexican Revolution and portrait of one of the country’s most beloved heroes, Pancho Villa Takes Zacatecas will fascinate history buffs, avid readers, and graphic novel enthusiasts alike.

Restless Classics presents the ninetieth anniversary edition of an undersung gem of the Harlem Renaissance: Nella Larsen's Passing, a captivating and prescient exploration of identity, sexuality, self-invention, class, and race set amidst the pealing boisterousness of the Jazz Age.

When childhood friends Irene Redfield and Clare Kendry cross paths at a whites-only restaurant, it’s been decades since they last met. Married to a bigoted white man who has no idea that she is African American, Clare has fully embraced her ability to “pass” as a white woman. Irene, also light-skinned and living in Harlem, is shocked by Clare’s rejection of her heritage, though she too passes when it suits her needs. This encounter sparks an intense relationship between the two women who, as acclaimed critic and novelist Darryl Pinckney writes in his insightful introduction, reflect Larsen’s own experience of being “between black and white, and culturally at home nowhere.”

In a culture intent on setting boundaries, Clare and Irene refuse to adhere to expectations of gender, race, or class, culminating in a tragic clash of identities, as their relationship swings between emotional hostility and intense attraction.

Restless Classics presents the ninetieth anniversary edition of an undersung gem of the Harlem Renaissance: Nella Larsen's Passing, a captivating and prescient exploration of identity, sexuality, self-invention, class, and race set amidst the pealing boisterousness of the Jazz Age.

When childhood friends Irene Redfield and Clare Kendry cross paths at a whites-only restaurant, it’s been decades since they last met. Married to a bigoted white man who has no idea that she is African American, Clare has fully embraced her ability to “pass” as a white woman. Irene, also light-skinned and living in Harlem, is shocked by Clare’s rejection of her heritage, though she too passes when it suits her needs. This encounter sparks an intense relationship between the two women who, as acclaimed critic and novelist Darryl Pinckney writes in his insightful introduction, reflect Larsen’s own experience of being “between black and white, and culturally at home nowhere.”

In a culture intent on setting boundaries, Clare and Irene refuse to adhere to expectations of gender, race, or class, culminating in a tragic clash of identities, as their relationship swings between emotional hostility and intense attraction.

Winner of the 2017 Eugène Dabit Prize
Winner of the 2019 French Voices Grand Prize

From award-winning Tahitian author Titaua Peu comes Pina, a devastating novel about a family torn apart by secrets and the legacy of colonialism, held together by nine-year-old Pina, a girl shouldering the immeasurable weight of her family’s traumas.

Far from Tahiti’s postcard-perfect beaches, Ma and Auguste and five of their nine children live a hand-to-mouth life in destitute, run-down Tenaho. Nine-year-old Pina, abused and neglected in equal measure, is the keeper of her family’s secrets, though the weight of this knowledge soon proves to be a burden no child could ever bear.

A victim of her father’s alcoholic rages and the object of her mother’s anger and indifference, Pina protects her younger sister, Moïra, as best she can, but a tragic accident upsets the precarious equilibrium of the family, setting them on a path to destruction. The fault lines of her family, descendants of Mā’ohi warriors who once fended off European settlers, begin to shift and crack open, laying bare how the past shapes and haunts the present: her brother Pauro falls in love with a Frenchman, her sister Rosa sinks into sexual exploitation as a futile means of escape, her eldest brother August Junior’s addictions and temper may lead him into ruin, and Hannah, the oldest daughter who had escaped to France, is beckoned back home, fearing the worst.

Elegantly translated from the French by Jeffrey Zuckerman, Pina introduces a bold and profoundly humane anticolonial writer. It’s a gut punch of a novel that traces the history of a family, an island, and a people, reaching back to a time before colonial rule and stretching into an imagined, hopeful future of independence and autonomy, offering the promise of redemption.

Winner of the 2017 Eugène Dabit Prize
Winner of the 2019 French Voices Grand Prize

From award-winning Tahitian author Titaua Peu comes Pina, a devastating novel about a family torn apart by secrets and the legacy of colonialism, held together by nine-year-old Pina, a girl shouldering the immeasurable weight of her family’s traumas.

Far from Tahiti’s postcard-perfect beaches, Ma and Auguste and five of their nine children live a hand-to-mouth life in destitute, run-down Tenaho. Nine-year-old Pina, abused and neglected in equal measure, is the keeper of her family’s secrets, though the weight of this knowledge soon proves to be a burden no child could ever bear.

A victim of her father’s alcoholic rages and the object of her mother’s anger and indifference, Pina protects her younger sister, Moïra, as best she can, but a tragic accident upsets the precarious equilibrium of the family, setting them on a path to destruction. The fault lines of her family, descendants of Mā’ohi warriors who once fended off European settlers, begin to shift and crack open, laying bare how the past shapes and haunts the present: her brother Pauro falls in love with a Frenchman, her sister Rosa sinks into sexual exploitation as a futile means of escape, her eldest brother August Junior’s addictions and temper may lead him into ruin, and Hannah, the oldest daughter who had escaped to France, is beckoned back home, fearing the worst.

Elegantly translated from the French by Jeffrey Zuckerman, Pina introduces a bold and profoundly humane anticolonial writer. It’s a gut punch of a novel that traces the history of a family, an island, and a people, reaching back to a time before colonial rule and stretching into an imagined, hopeful future of independence and autonomy, offering the promise of redemption.

An inspired and urgent prose retelling of the Maya myth of creation by acclaimed Latin American author and scholar Ilan Stavans, gorgeously illustrated by Salvadoran folk artist Gabriela Larios and introduced by renowned author, diplomat, and environmental activist Homero Aridjis.

The archetypal creation story of Latin America, the Popol Vuh began as a Maya oral tradition millennia ago. In the mid-sixteenth century, as indigenous cultures across the continent were being threatened with destruction by European conquest and Christianity, it was written down in verse by members of the K’iche’ nobility in what is today Guatemala. In 1701, that text was translated into Spanish by a Dominican friar and ethnographer before vanishing mysteriously.

Cosmic in scope and yet intimately human, the Popol Vuh offers invaluable insight into the Maya way of life before being decimated by colonization—their code of ethics, their views on death and the afterlife, and their devotion to passion, courage, and the natural world. It tells the story of how the world was created in a series of rehearsals that included wooden dummies, demi-gods, and eventually humans. It describes the underworld, Xibalba—a place as harrowing as Dante’s hell—and relates the legend of the ultimate king, who, in the face of tragedy, became a spirit that accompanies his people in their struggle for survival.

Popol Vuh: A Retelling is a one-of-a-kind prose rendition of this sacred text that is as seminal as the Bible and the Qur'an, the Ramayana and the Odyssey. Award-winning scholar of Latin American literature Ilan Stavans brings a fresh creative energy to the Popol Vuh, giving a new generation of readers the opportunity to connect with this timeless story and with the plight of the indigenous people of the Americas.

An inspired and urgent prose retelling of the Maya myth of creation by acclaimed Latin American author and scholar Ilan Stavans, gorgeously illustrated by Salvadoran folk artist Gabriela Larios and introduced by renowned author, diplomat, and environmental activist Homero Aridjis.

The archetypal creation story of Latin America, the Popol Vuh began as a Maya oral tradition millennia ago. In the mid-sixteenth century, as indigenous cultures across the continent were being threatened with destruction by European conquest and Christianity, it was written down in verse by members of the K’iche’ nobility in what is today Guatemala. In 1701, that text was translated into Spanish by a Dominican friar and ethnographer before vanishing mysteriously.

Cosmic in scope and yet intimately human, the Popol Vuh offers invaluable insight into the Maya way of life before being decimated by colonization—their code of ethics, their views on death and the afterlife, and their devotion to passion, courage, and the natural world. It tells the story of how the world was created in a series of rehearsals that included wooden dummies, demi-gods, and eventually humans. It describes the underworld, Xibalba—a place as harrowing as Dante’s hell—and relates the legend of the ultimate king, who, in the face of tragedy, became a spirit that accompanies his people in their struggle for survival.

Popol Vuh: A Retelling is a one-of-a-kind prose rendition of this sacred text that is as seminal as the Bible and the Qur'an, the Ramayana and the Odyssey. Award-winning scholar of Latin American literature Ilan Stavans brings a fresh creative energy to the Popol Vuh, giving a new generation of readers the opportunity to connect with this timeless story and with the plight of the indigenous people of the Americas.

From beloved Cuban science fiction author Yoss comes a bitingly funny space-opera homage to Raymond Chandler, about a positronic robot detective on the hunt for some extra-dangerous extraterrestrial criminals.

On the intergalactic trading station William S. Burroughs, profit is king and aliens are the kingmakers. Earthlings have bowed to their superior power and weaponry, though the aliens—praying-mantis-like Grodos with pheromonal speech and gargantuan Collosaurs with a limited sense of humor—kindly allow them to do business through properly controlled channels.

That’s where our hero comes in, name of Raymond. As part of the android police force, this positronic robot detective navigates both worlds, human and alien, keeping order and evaporating wrongdoers. But nothing in his centuries of experience prepares him for Makrow 34, a fugitive Cetian perp with psi powers. Meaning he can alter the shape of the Gaussian bell curve of statistical probability—making it rain indoors, say, or causing a would-be captor to shoot himself in the face. Raymond will need all his training—and all his careful study of Chandler’s hardbitten cops—to outmaneuver his quarry.

As he did in his brilliantly funny and sharp science-fiction satires A Planet for Rent, Super Extra Grande, and Condomnauts, Yoss makes the familiar strange and the strange familiar in Red Dust, giving us an unforgettable half-human hero and a richly imagined universe where the bad guys are above the laws of physics.

From beloved Cuban science fiction author Yoss comes a bitingly funny space-opera homage to Raymond Chandler, about a positronic robot detective on the hunt for some extra-dangerous extraterrestrial criminals.

On the intergalactic trading station William S. Burroughs, profit is king and aliens are the kingmakers. Earthlings have bowed to their superior power and weaponry, though the aliens—praying-mantis-like Grodos with pheromonal speech and gargantuan Collosaurs with a limited sense of humor—kindly allow them to do business through properly controlled channels.

That’s where our hero comes in, name of Raymond. As part of the android police force, this positronic robot detective navigates both worlds, human and alien, keeping order and evaporating wrongdoers. But nothing in his centuries of experience prepares him for Makrow 34, a fugitive Cetian perp with psi powers. Meaning he can alter the shape of the Gaussian bell curve of statistical probability—making it rain indoors, say, or causing a would-be captor to shoot himself in the face. Raymond will need all his training—and all his careful study of Chandler’s hardbitten cops—to outmaneuver his quarry.

As he did in his brilliantly funny and sharp science-fiction satires A Planet for Rent, Super Extra Grande, and Condomnauts, Yoss makes the familiar strange and the strange familiar in Red Dust, giving us an unforgettable half-human hero and a richly imagined universe where the bad guys are above the laws of physics.

Restless Classics presents the Three-Hundredth Anniversary Edition of Robinson Crusoe, the classic Caribbean adventure story and foundational English novel, with new illustrations by Eko and an introduction by Jamaica Kincaid that contextualizes the book for our globalized, postcolonial era.
Three centuries after Daniel Defoe published Robinson Crusoe, this gripping tale of a castaway who spends thirty years on a remote tropical island near Trinidad, encountering cannibals, captives, and mutineers before being ultimately rescued, remains a classic of the adventure genre and is widely considered the first great English novel.

But the book also has much to teach us, in retrospect, about entrenched attitudes of colonizers toward the colonized that still resound today. As celebrated Caribbean writer Jamaica Kincaid writes in her bold new introduction, “The vivid, vibrant, subtle, important role of the tale of Robinson Crusoe, with his triumph of individual resilience and ingenuity wrapped up in his European, which is to say white, identity, has played in the long, uninterrupted literature of European conquest of the rest of the world must not be dismissed or ignored or silenced.”

Restless Classics presents the Three-Hundredth Anniversary Edition of Robinson Crusoe, the classic Caribbean adventure story and foundational English novel, with new illustrations by Eko and an introduction by Jamaica Kincaid that contextualizes the book for our globalized, postcolonial era.
Three centuries after Daniel Defoe published Robinson Crusoe, this gripping tale of a castaway who spends thirty years on a remote tropical island near Trinidad, encountering cannibals, captives, and mutineers before being ultimately rescued, remains a classic of the adventure genre and is widely considered the first great English novel.

But the book also has much to teach us, in retrospect, about entrenched attitudes of colonizers toward the colonized that still resound today. As celebrated Caribbean writer Jamaica Kincaid writes in her bold new introduction, “The vivid, vibrant, subtle, important role of the tale of Robinson Crusoe, with his triumph of individual resilience and ingenuity wrapped up in his European, which is to say white, identity, has played in the long, uninterrupted literature of European conquest of the rest of the world must not be dismissed or ignored or silenced.”

YOSS (José Miguel Sánchez Gómez) es sin duda el autor más renombrado y controversial de la ciencia ficción cubana. En su best-seller Se alquila un planeta, nos ofrece la visión desgarradora de un porvenir en la Tierra que le sirve de espejo para reflexionar sobre la Cuba de los años noventa bajo el régimen de Fidel Castro. En este futuro mordaz, nuestro planeta es rescatado de sus problemas económicos y ambientales por la invasión de extraterrestres que lo transforman en un resort turístico interestelar. Consignados a una burocracia interestelar brutal, los desposeídos de la Tierra se empeñan en mejorar sus vidas a través de las pocas vías disponibles que tienen a su alcance, como son el trabajar para la policía colonial, ganarse la vida en el mercado negro, invertir en el narcotráfico, gozar del mundo galáctico del arte y la prostitución, y extraviarse en vacío en naves espaciales de fabricación casera en busca de una vida mejor. Yoss es conocido tanto por su estética de rockero impenitente como por sus retratos mordaces de la actualidad cubana. Este libro ingenioso y fascinante marca el debut en inglés de una de las voces literarias latinoamericana más intrépidas e imaginativas.

A family's quest to make sense of their shared history. A bittersweet exploration of love, loss, and the chaos of sibling relationships. When family bonds are tested, humor and heartbreak collide.

A 2021 novel by esteemed French playwright Yasmina Reza, Serge tells a family story that revolves around three siblings of Hungarian–Jewish descent. As Serge, Jean, and their sister Nana embark on an unexpected road trip to Auschwitz and Birkenau they take along one of their daughters and plenty of complicated family history. What begins as a solemn trip quickly devolves into a chaotic mix of personal grievances, sibling banter, and awkward confrontations. Set in the present tense, the story is both a meditation on dying and memory and an exploration of how we love and hate those closest to us.

Reza masterfully portrays the messiness of family life, where love and resentment intertwine, and the weight of shared history looms large. She probes themes of generational trauma, midlife crises, and the absurdities of modern existence and explores how everybody handles these situations differently. Serge is a richly layered tale that is as reflective as it is humorous—a testament to Reza’s unique ability to find humanity in the chaos.

A family's quest to make sense of their shared history. A bittersweet exploration of love, loss, and the chaos of sibling relationships. When family bonds are tested, humor and heartbreak collide.

A 2021 novel by esteemed French playwright Yasmina Reza, Serge tells a family story that revolves around three siblings of Hungarian–Jewish descent. As Serge, Jean, and their sister Nana embark on an unexpected road trip to Auschwitz and Birkenau they take along one of their daughters and plenty of complicated family history. What begins as a solemn trip quickly devolves into a chaotic mix of personal grievances, sibling banter, and awkward confrontations. Set in the present tense, the story is both a meditation on dying and memory and an exploration of how we love and hate those closest to us.

Reza masterfully portrays the messiness of family life, where love and resentment intertwine, and the weight of shared history looms large. She probes themes of generational trauma, midlife crises, and the absurdities of modern existence and explores how everybody handles these situations differently. Serge is a richly layered tale that is as reflective as it is humorous—a testament to Reza’s unique ability to find humanity in the chaos.

“No other writer in the Spanish-speaking world is as fiercely independent and thoroughly irreverent as Gabriela Wiener. Constantly testing the limits of genre and gender, Wiener’s work … has bravely unveiled truths some may prefer remain concealed about a range of topics, from the daily life of polymorphous desire to the tiring labor of maternity.”

—Cristina Rivera Garza, author of The Iliac Crest

In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle—all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives. Sexographies is an eye-opening, kamikaze journey across the contours of the human body and mind.

“No other writer in the Spanish-speaking world is as fiercely independent and thoroughly irreverent as Gabriela Wiener. Constantly testing the limits of genre and gender, Wiener’s work … has bravely unveiled truths some may prefer remain concealed about a range of topics, from the daily life of polymorphous desire to the tiring labor of maternity.”

—Cristina Rivera Garza, author of The Iliac Crest

In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle—all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives. Sexographies is an eye-opening, kamikaze journey across the contours of the human body and mind.

Based on the true, still-unfolding story of the expelled Chagossians’ fight for their homeland, Silence of the Chagos is a powerful exploration of cultural identity, the concept of home, and above all the neverending desire for justice.

Every afternoon a woman in a red headscarf walks to the end of the quay and looks out over the water, fixing her gaze “back there”—to Diego Garcia, one of the small islands forming the Chagos archipelago in the Indian Ocean. With no explanation, no forewarning, and only an hour to pack their belongings, the entire population of Diego Garcia was forced on a boat headed to Mauritius. Government officials told Charlesia that the island was “closed;” there was no going back for any of them.

Charlesia longs for life on Diego Garcia, where she spent her days harvesting coconuts and her nights dancing to sega music. As she struggles to come to terms with the injustice of her new reality, Charlesia crosses paths with Désiré, a young man born on the one-way journey to Mauritius. Désiré has never set foot on Diego Garcia, but as Charlesia unfolds the dramatic story of their people, he learns of the home he never knew and of the life he might have had.

With the Chagos’ sovereignty currently being adjudicated by the United Nations Silence of the Chagos is an important and humanizing exploration of the rights of individuals and a reckoning with displacement on a global scale

Based on the true, still-unfolding story of the expelled Chagossians’ fight for their homeland, Silence of the Chagos is a powerful exploration of cultural identity, the concept of home, and above all the neverending desire for justice.

Every afternoon a woman in a red headscarf walks to the end of the quay and looks out over the water, fixing her gaze “back there”—to Diego Garcia, one of the small islands forming the Chagos archipelago in the Indian Ocean. With no explanation, no forewarning, and only an hour to pack their belongings, the entire population of Diego Garcia was forced on a boat headed to Mauritius. Government officials told Charlesia that the island was “closed;” there was no going back for any of them.

Charlesia longs for life on Diego Garcia, where she spent her days harvesting coconuts and her nights dancing to sega music. As she struggles to come to terms with the injustice of her new reality, Charlesia crosses paths with Désiré, a young man born on the one-way journey to Mauritius. Désiré has never set foot on Diego Garcia, but as Charlesia unfolds the dramatic story of their people, he learns of the home he never knew and of the life he might have had.

With the Chagos’ sovereignty currently being adjudicated by the United Nations Silence of the Chagos is an important and humanizing exploration of the rights of individuals and a reckoning with displacement on a global scale

A gorgeously produced, bilingual edition of Nobel Prize laureate Isaac Bashevis Singer's canonical story—one of the most influential of the 20th century—about a hapless yet charmingly resilient baker named Gimpl, who resists taking revenge on the town that makes him the butt of every joke. Singer's original Yiddish appears alongside his own partial translation, now completed and edited by writer and scholar David Stromberg, and the 1953 translation by fellow Nobel laureate Saul Bellow. With illustrations by Liana Finck and an afterword by David Stromberg.

Isaac Bashevis Singer’s “Gimpl tam” was published on March 30, 1945, in the obscure Yiddish-language journal Idisher kempfer, about a month before the Nazi surrender. A story of bullying and the potential for revenge, it tells the deathbed confession of an orphaned baker who is targeted by his own community for ridicule and practical jokes. Gimpl has come to be seen as a symbol of the Jewish people in the diaspora, and, by synecdoche, minorities in general. Should they be passive in the face of aggression? Or should they defend themselves? What role must the individual of that minority play when the pack behaves badly?

When Irving Howe and Eliezer Greenberg opted to include “Gimpl tam” in their Treasury of Yiddish Tales, Howe asked Saul Bellow to help with the translation. It was finished in a single sitting and published in 1953 in The Partisan Review as “Gimpel the Fool”—the version that has since been canonized as one of the fundamental stories of the twentieth century. Yet, unlike every other major work of Singer’s published in his lifetime, the author had no involvement in the English translation. In 2006, Joseph Landis, editor of Yiddish, published a draft play script titled “Simple Gimpl,” made by Singer directly from the Yiddish original—the closest extant rendition of the story in the author’s own translation. Literary scholar David Stromberg has completed Singer’s translation, allowing readers to see another dimension of the original. This definitive edition, a treat for literature lovers, features Singer’s story in Yiddish along with the two English versions. Having them together shows Gimpl as anything but a fool—but rather someone accepting the complexity of his life and faith.

With delicacy and precision, the major Chinese poet Xiao Hai conjures shadows to explore philosophical questions of illusion and reality, history and time, art and language. Composed of several hundred interconnected poems, Xiao’s collection is, in his words, “a dynamic, creative, and open system of experience.” Deftly translated by Zhu Yu, Song of Shadows brings Wordsworth and Whitman into artful conversation with classical Chinese culture.

Available as a bilingual eBook with text in Mandarin and English, this edition is a must-read for lovers of international literature, Chinese speakers learning English, and English speakers learning Mandarin.

The long-awaited capstone to the landmark trilogy that began with A Legend of the Future and The Year 200 by Agustín de Rojas, “one of Cuba’s greatest science fiction writers” —SF Signal

The winner of Cuba’s prestigious Premio David in 1980, Spiral is another magisterial space opera from the late great science fiction author Agustín de Rojas. Deeply committed to the Revolution, Rojas presents a stunning critique of the Cuban regime under Fidel Castro by inviting the comparison of Spiral’s fictional moral universe, one in which Che Guevara’s principles of socialism are followed to the letter, with the brutal realities of everyday Cuba.

Decades after the devastating Catastrophe, Earth has become a radioactive wasteland sparsely populated by bands of genetically modified humans struggling to survive on limited resources. An expedition of ten explorers from the Aurora planet returns to this desolate landscape to investigate the mysterious causes of its destruction. But when an unexpected guest breaks into their base, the team needs to wield all of its brain power not only to make sense of the helpless planet but also to stay together as a community.

Spiral is a compelling novel concerned with the ethics of scientific exploration and the human relationships caught up in it. Weaving biology, ecology and sociology into this sci-fi narrative, Agustín de Rojas manages to paint a devastating picture of a planet torn apart by two irreconcilable economic powers that so closely resemble the Cold War context in which the story was published.

The novel is very meticulous in its exploration of the professional dilemmas of this crew of scientists and explorers who need to stay true to the utopian values that made the journey possible. Yet it is their emotional responses as human beings that elevate the plot and make Spiral a captivating tale of endurance and curiosity for contemporary readers.

Kirkus Reviews Best Fiction of 2016

Barnes and Noble Best Science Fiction & Fantasy of 2016

“Intergalactic space travel meets outrageous, biting satire in Super Extra Grande…. Its author [Yoss] is one of the most celebrated—and controversial—Cuban writers of science fiction…. Reminiscent of Douglas Adams—but even more so, the satire of Rabelais and Swift.” —The Washington Post

With the playfulness and ingenuity of Douglas Adams, the Cuban science-fiction master Yoss delivers a space opera of intergalactic proportions with Super Extra Grande, the winner of the twentieth annual UPC Science Fiction Award in 2011.

In a distant future in which Latin Americans have pioneered faster-than-light space travel, Dr. Jan Amos Sangan Dongo has a job with large and unusual responsibilities: he’s a veterinarian who specializes in treating enormous alien animals. Mountain-sized amoebas, multisex species with bizarre reproductive processes, razor-nailed, carnivorous humanoid hunters: Dr. Sangan has seen it all. When a colonial conflict threatens the fragile peace between the galaxy’s seven intelligent species, he must embark on a daring mission through the insides of a gigantic creature and find two swallowed ambassadors—who also happen to be his competing love interests.

Funny, witty, raunchy, and irrepressibly vivacious, Super Extra Grande is a rare specimen in the richly parodic tradition of Cuban science fiction, and could only have been written by a Cuban heavy-metal rock star with a biology degree: the inimitable Yoss.

Kirkus Reviews Best Fiction of 2016

Barnes and Noble Best Science Fiction & Fantasy of 2016

“Intergalactic space travel meets outrageous, biting satire in Super Extra Grande…. Its author [Yoss] is one of the most celebrated—and controversial—Cuban writers of science fiction…. Reminiscent of Douglas Adams—but even more so, the satire of Rabelais and Swift.” —The Washington Post

With the playfulness and ingenuity of Douglas Adams, the Cuban science-fiction master Yoss delivers a space opera of intergalactic proportions with Super Extra Grande, the winner of the twentieth annual UPC Science Fiction Award in 2011.

In a distant future in which Latin Americans have pioneered faster-than-light space travel, Dr. Jan Amos Sangan Dongo has a job with large and unusual responsibilities: he’s a veterinarian who specializes in treating enormous alien animals. Mountain-sized amoebas, multisex species with bizarre reproductive processes, razor-nailed, carnivorous humanoid hunters: Dr. Sangan has seen it all. When a colonial conflict threatens the fragile peace between the galaxy’s seven intelligent species, he must embark on a daring mission through the insides of a gigantic creature and find two swallowed ambassadors—who also happen to be his competing love interests.

Funny, witty, raunchy, and irrepressibly vivacious, Super Extra Grande is a rare specimen in the richly parodic tradition of Cuban science fiction, and could only have been written by a Cuban heavy-metal rock star with a biology degree: the inimitable Yoss.

"Guest workers of the United Arab Emirates embody multiple worlds and identities and long for home in a fantastical debut work of fiction, winner of the inaugural Restless Books Prize for New Immigrant Writing.… An enchanting, unparalleled anthem of displacement and repatriation." —Kirkus Reviews

In the United Arab Emirates, foreign nationals constitute over 80 percent of the population. Brought in to construct the towering monuments to wealth that punctuate the skylines of Abu Dhabi and Dubai, this labor force works without the rights of citizenship, endures miserable living conditions, and is ultimately forced to leave the country. Until now, the humanitarian crisis of the so-called “guest workers” of the Gulf has barely been addressed in fiction. With his stunning, mind-altering debut novel Temporary People, Deepak Unnikrishnan delves into their histories, myths, struggles, and triumphs.

Combining the irrepressible linguistic invention of Salman Rushdie and the satirical vision of George Saunders, Unnikrishnan presents twenty-eight linked stories that careen from construction workers who shapeshift into luggage and escape a labor camp, to a woman who stitches back together the bodies of those who’ve fallen from buildings in progress, to a man who grows ideal workers designed to live twelve years and then perish—until they don’t, and found a rebel community in the desert. With this polyphony, Unnikrishnan brilliantly maps a new, unruly global English. Giving substance and identity to the anonymous workers of the Gulf, he highlights the disturbing ways in which “progress” on a global scale is bound up with dehumanization.

"Guest workers of the United Arab Emirates embody multiple worlds and identities and long for home in a fantastical debut work of fiction, winner of the inaugural Restless Books Prize for New Immigrant Writing.… An enchanting, unparalleled anthem of displacement and repatriation." —Kirkus Reviews

In the United Arab Emirates, foreign nationals constitute over 80 percent of the population. Brought in to construct the towering monuments to wealth that punctuate the skylines of Abu Dhabi and Dubai, this labor force works without the rights of citizenship, endures miserable living conditions, and is ultimately forced to leave the country. Until now, the humanitarian crisis of the so-called “guest workers” of the Gulf has barely been addressed in fiction. With his stunning, mind-altering debut novel Temporary People, Deepak Unnikrishnan delves into their histories, myths, struggles, and triumphs.

Combining the irrepressible linguistic invention of Salman Rushdie and the satirical vision of George Saunders, Unnikrishnan presents twenty-eight linked stories that careen from construction workers who shapeshift into luggage and escape a labor camp, to a woman who stitches back together the bodies of those who’ve fallen from buildings in progress, to a man who grows ideal workers designed to live twelve years and then perish—until they don’t, and found a rebel community in the desert. With this polyphony, Unnikrishnan brilliantly maps a new, unruly global English. Giving substance and identity to the anonymous workers of the Gulf, he highlights the disturbing ways in which “progress” on a global scale is bound up with dehumanization.

Can killing be an act of love? Hypnotic, gruesome, and exultant, Joy Sorman’s macabre ballet whirls from industrial slaughterhouses to the boutique butcher shops of Paris.

Pim is a delicate youth—stringy, solemn, and prone to bouts of unexplained weeping. When he enrolls in trade school as an apprentice butcher, his mentors have low expectations, but his lanky body conceals a peculiar flame: a passionate devotion to animals. In an industry that strives to distance the chopping block from the dinner plate, his ardor might seem like a handicap, but Pim rises through the knife-wielding ranks with a barely-tethered zeal. He scours blood from floor mats and stacks carcasses in the cold room by day. By night he tries to slake his appetites: at the table, over boudin sausage and steak tartare, and in bed, with women whose flanks, ribs, and haunches he maps as they undress each other.

Pim’s professional successes mount but his cravings gnaw. In the library he teases out histories, like the blood-drinking forerunners to vampirism or the Medieval trial of a killer pig, sentenced to death by hanging. Meat crowds his waking thoughts. Even as he carves ripe flesh from exquisite bone, he labors to close the gap between man and beast—to be seen, understood, even loved, by a primordial mind. Will this ravenous obsession yield to madness, or to ecstasy?

With shades of Upton Sinclair’s The Jungle, Joy Sorman’s Tenderloin is an ethical foray, fever dream, and paean to an ageless hunger. Vegetarians and carnivores alike are invited to feast at this sumptuous literary table. After all, we are what we eat.

Can killing be an act of love? Hypnotic, gruesome, and exultant, Joy Sorman’s macabre ballet whirls from industrial slaughterhouses to the boutique butcher shops of Paris.

Pim is a delicate youth—stringy, solemn, and prone to bouts of unexplained weeping. When he enrolls in trade school as an apprentice butcher, his mentors have low expectations, but his lanky body conceals a peculiar flame: a passionate devotion to animals. In an industry that strives to distance the chopping block from the dinner plate, his ardor might seem like a handicap, but Pim rises through the knife-wielding ranks with a barely-tethered zeal. He scours blood from floor mats and stacks carcasses in the cold room by day. By night he tries to slake his appetites: at the table, over boudin sausage and steak tartare, and in bed, with women whose flanks, ribs, and haunches he maps as they undress each other.

Pim’s professional successes mount but his cravings gnaw. In the library he teases out histories, like the blood-drinking forerunners to vampirism or the Medieval trial of a killer pig, sentenced to death by hanging. Meat crowds his waking thoughts. Even as he carves ripe flesh from exquisite bone, he labors to close the gap between man and beast—to be seen, understood, even loved, by a primordial mind. Will this ravenous obsession yield to madness, or to ecstasy?

With shades of Upton Sinclair’s The Jungle, Joy Sorman’s Tenderloin is an ethical foray, fever dream, and paean to an ageless hunger. Vegetarians and carnivores alike are invited to feast at this sumptuous literary table. After all, we are what we eat.

“This dark, sprawling novel is the English language debut of Emiliano Monge, a Mexican writer who is often compared to the US literary superstar Cormac McCarthy. Written in a tone that evokes McCarthy’s unrelenting classic Blood Meridian, the novel tells the story of Germán Alcántara Carnero, a dangerous campesino fighting to survive in rural 20th century Mexico, and also a metaphor for the spiraling violence of contemporary Mexican society.” —Culture Trip

Set on a desolate, unnamed mesa, Emiliano Monge’s The Arid Sky distills the essence of a Latin America ruthlessly hollowed out by uncontainable violence. This is an unsparing yet magnificent land, whose only constants are loneliness, hatred, loyalty, and the struggle to return some small measure of meaning to life.

Thundering and inventive, The Arid Sky narrates the signature moments in the life of Germán Alcantara Carnero: a man who is both exaltedly, viscerally real and is an ageless, nameless being capable of embodying entire eras, cultures, and conflicts. Monge’s roadmap—an escape across borders, the disappearance of a young girl, the confrontation between a father and his son, the birth of a sick child, and murder—takes readers on a journey to the core of humankind that posits a challenge of the kind only great literature can pose.

“This dark, sprawling novel is the English language debut of Emiliano Monge, a Mexican writer who is often compared to the US literary superstar Cormac McCarthy. Written in a tone that evokes McCarthy’s unrelenting classic Blood Meridian, the novel tells the story of Germán Alcántara Carnero, a dangerous campesino fighting to survive in rural 20th century Mexico, and also a metaphor for the spiraling violence of contemporary Mexican society.” —Culture Trip

Set on a desolate, unnamed mesa, Emiliano Monge’s The Arid Sky distills the essence of a Latin America ruthlessly hollowed out by uncontainable violence. This is an unsparing yet magnificent land, whose only constants are loneliness, hatred, loyalty, and the struggle to return some small measure of meaning to life.

Thundering and inventive, The Arid Sky narrates the signature moments in the life of Germán Alcantara Carnero: a man who is both exaltedly, viscerally real and is an ageless, nameless being capable of embodying entire eras, cultures, and conflicts. Monge’s roadmap—an escape across borders, the disappearance of a young girl, the confrontation between a father and his son, the birth of a sick child, and murder—takes readers on a journey to the core of humankind that posits a challenge of the kind only great literature can pose.

Winner of The Restless Books Prize for New Immigrant Writing, Grace Talusan’s critically acclaimed memoir The Body Papers, a New York Times Editors’ Choice selection, powerfully explores the fraught contours of her own life as a Filipino immigrant and survivor of cancer and childhood abuse.

Born in the Philippines, young Grace Talusan moves with her family to a New England suburb in the 1970s. At school, she confronts racism as one of the few kids with a brown face. At home, the confusion is worse: her grandfather’s nightly visits to her room leave her hurt and terrified, and she learns to build a protective wall of silence that maps onto the larger silence practiced by her Catholic Filipino family. Talusan learns as a teenager that her family’s legal status in the country has always hung by a thread—for a time, they were “illegal.” Family, she’s told, must be put first.

The abuse and trauma Talusan suffers as a child affects all her relationships, her mental health, and her relationship with her own body. Later, she learns that her family history is threaded with violence and abuse. And she discovers another devastating family thread: cancer. In her thirties, Talusan must decide whether to undergo preventive surgeries to remove her breasts and ovaries. Despite all this, she finds love, and success as a teacher. On a fellowship, Talusan and her husband return to the Philippines, where she revisits her family’s ancestral home and tries to reclaim a lost piece of herself.

Not every family legacy is destructive. From her parents, Talusan has learned to tell stories in order to continue. The generosity of spirit and literary acuity of this debut memoir are a testament to her determination and resilience. In excavating such abuse and trauma, and supplementing her story with government documents, medical records, and family photos, Talusan gives voice to unspeakable experience, and shines a light of hope into the darkness.

Winner of The Restless Books Prize for New Immigrant Writing, Grace Talusan’s critically acclaimed memoir The Body Papers, a New York Times Editors’ Choice selection, powerfully explores the fraught contours of her own life as a Filipino immigrant and survivor of cancer and childhood abuse.

Born in the Philippines, young Grace Talusan moves with her family to a New England suburb in the 1970s. At school, she confronts racism as one of the few kids with a brown face. At home, the confusion is worse: her grandfather’s nightly visits to her room leave her hurt and terrified, and she learns to build a protective wall of silence that maps onto the larger silence practiced by her Catholic Filipino family. Talusan learns as a teenager that her family’s legal status in the country has always hung by a thread—for a time, they were “illegal.” Family, she’s told, must be put first.

The abuse and trauma Talusan suffers as a child affects all her relationships, her mental health, and her relationship with her own body. Later, she learns that her family history is threaded with violence and abuse. And she discovers another devastating family thread: cancer. In her thirties, Talusan must decide whether to undergo preventive surgeries to remove her breasts and ovaries. Despite all this, she finds love, and success as a teacher. On a fellowship, Talusan and her husband return to the Philippines, where she revisits her family’s ancestral home and tries to reclaim a lost piece of herself.

Not every family legacy is destructive. From her parents, Talusan has learned to tell stories in order to continue. The generosity of spirit and literary acuity of this debut memoir are a testament to her determination and resilience. In excavating such abuse and trauma, and supplementing her story with government documents, medical records, and family photos, Talusan gives voice to unspeakable experience, and shines a light of hope into the darkness.

Winner of The Restless Books Prize for New Immigrant Writing, Grace Talusan’s critically acclaimed memoir The Body Papers, a New York Times Editors’ Choice selection, powerfully explores the fraught contours of her own life as a Filipino immigrant and survivor of cancer and childhood abuse.

Born in the Philippines, young Grace Talusan moves with her family to a New England suburb in the 1970s. At school, she confronts racism as one of the few kids with a brown face. At home, the confusion is worse: her grandfather’s nightly visits to her room leave her hurt and terrified, and she learns to build a protective wall of silence that maps onto the larger silence practiced by her Catholic Filipino family. Talusan learns as a teenager that her family’s legal status in the country has always hung by a thread—for a time, they were “illegal.” Family, she’s told, must be put first.

The abuse and trauma Talusan suffers as a child affects all her relationships, her mental health, and her relationship with her own body. Later, she learns that her family history is threaded with violence and abuse. And she discovers another devastating family thread: cancer. In her thirties, Talusan must decide whether to undergo preventive surgeries to remove her breasts and ovaries. Despite all this, she finds love, and success as a teacher. On a fellowship, Talusan and her husband return to the Philippines, where she revisits her family’s ancestral home and tries to reclaim a lost piece of herself.

Not every family legacy is destructive. From her parents, Talusan has learned to tell stories in order to continue. The generosity of spirit and literary acuity of this debut memoir are a testament to her determination and resilience. In excavating such abuse and trauma, and supplementing her story with government documents, medical records, and family photos, Talusan gives voice to unspeakable experience, and shines a light of hope into the darkness.

FINALIST, National Book Award for Translated Literature, 2024

A perilous and fantastical satire of banned books, secret archives, and the looming eye of an all-powerful government.

The new book censor hasn’t slept soundly in weeks. By day he combs through manuscripts at a government office, looking for anything that would make a book unfit to publish—allusions to queerness, unapproved religions, any mention of life before the Revolution. By night the characters of literary classics crowd his dreams, and pilfered novels pile up in the house he shares with his wife and daughter. As the siren song of forbidden reading continues to beckon, he descends into a netherworld of resistance fighters, undercover booksellers, and outlaw librarians trying to save their history and culture.

Reckoning with the global threat to free speech and the bleak future it all but guarantees, Bothayna Al-Essa marries the steely dystopia of Orwell’s 1984 with the madcap absurdity of Carroll’s Alice in Wonderland. The Book Censor’s Library is a warning call and a love letter to stories and the delicious act of losing oneself in them.

FINALIST, National Book Award for Translated Literature, 2024

A perilous and fantastical satire of banned books, secret archives, and the looming eye of an all-powerful government.

The new book censor hasn’t slept soundly in weeks. By day he combs through manuscripts at a government office, looking for anything that would make a book unfit to publish—allusions to queerness, unapproved religions, any mention of life before the Revolution. By night the characters of literary classics crowd his dreams, and pilfered novels pile up in the house he shares with his wife and daughter. As the siren song of forbidden reading continues to beckon, he descends into a netherworld of resistance fighters, undercover booksellers, and outlaw librarians trying to save their history and culture.

Reckoning with the global threat to free speech and the bleak future it all but guarantees, Bothayna Al-Essa marries the steely dystopia of Orwell’s 1984 with the madcap absurdity of Carroll’s Alice in Wonderland. The Book Censor’s Library is a warning call and a love letter to stories and the delicious act of losing oneself in them.

Winner of the prestigious Prix Femina, The Boy is an expansive and entrancing historical novel that follows a nearly feral child from the French countryside as he joins society and plunges into the torrid events of the first half of the 20th century.

The boy does not speak. The boy has no name. The boy, raised half-wild in the forests of southern France, sets out alone into the wilderness and the greater world beyond. Without experience of another person aside from his mother, the boy must learn what it is to be human, to exist among people, and to live beyond simple survival.

As this wild and naive child attempts to join civilization, he encounters earthquakes and car crashes, ogres and artists, and, eventually, all-encompassing love and an inescapable war. His adventures take him around the world and through history on a mesmerizing journey, rich with unforgettable characters. A hamlet of farmers fears he’s a werewolf, but eventually raise him as one of their own. A circus performer who toured the world as a sideshow introduces the boy to showmanship and sanitation. And a chance encounter with an older woman exposes him to music and the sensuous pleasures of life. The boy becomes a guide whose innocence exposes society’s wonder, brutality, absurdity, and magic.

Beginning in 1908 and spanning three decades, The Boy is as an emotionally and historically rich exploration of family, passion, and war from one of France’s most acclaimed and bestselling authors.

Winner of the prestigious Prix Femina, The Boy is an expansive and entrancing historical novel that follows a nearly feral child from the French countryside as he joins society and plunges into the torrid events of the first half of the 20th century.

The boy does not speak. The boy has no name. The boy, raised half-wild in the forests of southern France, sets out alone into the wilderness and the greater world beyond. Without experience of another person aside from his mother, the boy must learn what it is to be human, to exist among people, and to live beyond simple survival.

As this wild and naive child attempts to join civilization, he encounters earthquakes and car crashes, ogres and artists, and, eventually, all-encompassing love and an inescapable war. His adventures take him around the world and through history on a mesmerizing journey, rich with unforgettable characters. A hamlet of farmers fears he’s a werewolf, but eventually raise him as one of their own. A circus performer who toured the world as a sideshow introduces the boy to showmanship and sanitation. And a chance encounter with an older woman exposes him to music and the sensuous pleasures of life. The boy becomes a guide whose innocence exposes society’s wonder, brutality, absurdity, and magic.

Beginning in 1908 and spanning three decades, The Boy is as an emotionally and historically rich exploration of family, passion, and war from one of France’s most acclaimed and bestselling authors.

Winner of the Restless Books Prize for New Immigrant Writing

Shortlisted for the Center for Fiction First Novel Prize

Priyanka Champaneri’s transcendent, prize-winning debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go.

As the dutiful manager of a death hostel in Banaras on the banks of the Ganges, Pramesh Prasad administers to dying Hindu pilgrims who hope to be released from earthly reincarnation. He lives and works contentedly with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant Mohan, and the constant flow of families with their dying kin. But one day the past arrives in the form of a body pulled from the river—a man with an uncanny resemblance to Pramesh.

Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens between the cousins that he has willed himself to forget. Yet for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption.

Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead.

Winner of the Restless Books Prize for New Immigrant Writing

Shortlisted for the Center for Fiction First Novel Prize

Priyanka Champaneri’s transcendent, prize-winning debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go.

As the dutiful manager of a death hostel in Banaras on the banks of the Ganges, Pramesh Prasad administers to dying Hindu pilgrims who hope to be released from earthly reincarnation. He lives and works contentedly with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant Mohan, and the constant flow of families with their dying kin. But one day the past arrives in the form of a body pulled from the river—a man with an uncanny resemblance to Pramesh.

Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens between the cousins that he has willed himself to forget. Yet for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption.

Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead.

Winner of the Restless Books Prize for New Immigrant Writing

Shortlisted for the Center for Fiction First Novel Prize

Priyanka Champaneri’s transcendent, prize-winning debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go.

As the dutiful manager of a death hostel in Banaras on the banks of the Ganges, Pramesh Prasad administers to dying Hindu pilgrims who hope to be released from earthly reincarnation. He lives and works contentedly with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant Mohan, and the constant flow of families with their dying kin. But one day the past arrives in the form of a body pulled from the river—a man with an uncanny resemblance to Pramesh.

Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens between the cousins that he has willed himself to forget. Yet for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption.

Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead.

"A mix of such otherworldly scenarios, pop culture references and linguistic inventiveness comes remarkably together for a brazen social and political commentary on modern Mexican reality." —NPR Books

The English-language debut of “one of the most original and entertaining voices in contemporary Mexican literature” (Revista Gatopardo): a collection of surreal, ironic, and madcap stories about the comedy and brutality of life in Mexico.

The provocateur and cult sensation Carlos Velázquez has earned comparisons to Hunter S. Thompson, Charles Bukowski, and William S. Burroughs, and has been called “a grand storyteller” (Diario Jornada) and “an icon” (Frente). In these seven surreal and unsettling tales, he portrays the comedy and brutality of a region that has captivated the North American imagination.

Akin to Márquez’s Macondo or Faulkner’s Yoknapatawpha County, Velázquez’s PopSTock! is a fictional territory in a familiar but strange northern Mexico. Throughout the stories is woven the Cowboy Bible—a mystical and protean object that first appears as the talisman of a Santería-practicing luchador, DJ, and art critic, then later morphs into an unbeatable marathon drinker, a scion of a fried-chicken vendor dynasty who becomes a Communist guerilla freedom fighter, and the leather for a pair of boots so coveted that it leads a man to grant the devil a night with his wife. With such otherworldly scenarios, pop-culture panache, and Velázquez’s linguistic inventiveness, The Cowboy Bible is a brazen commentary on modern Mexican reality.

"A mix of such otherworldly scenarios, pop culture references and linguistic inventiveness comes remarkably together for a brazen social and political commentary on modern Mexican reality." —NPR Books

The English-language debut of “one of the most original and entertaining voices in contemporary Mexican literature” (Revista Gatopardo): a collection of surreal, ironic, and madcap stories about the comedy and brutality of life in Mexico.

The provocateur and cult sensation Carlos Velázquez has earned comparisons to Hunter S. Thompson, Charles Bukowski, and William S. Burroughs, and has been called “a grand storyteller” (Diario Jornada) and “an icon” (Frente). In these seven surreal and unsettling tales, he portrays the comedy and brutality of a region that has captivated the North American imagination.

Akin to Márquez’s Macondo or Faulkner’s Yoknapatawpha County, Velázquez’s PopSTock! is a fictional territory in a familiar but strange northern Mexico. Throughout the stories is woven the Cowboy Bible—a mystical and protean object that first appears as the talisman of a Santería-practicing luchador, DJ, and art critic, then later morphs into an unbeatable marathon drinker, a scion of a fried-chicken vendor dynasty who becomes a Communist guerilla freedom fighter, and the leather for a pair of boots so coveted that it leads a man to grant the devil a night with his wife. With such otherworldly scenarios, pop-culture panache, and Velázquez’s linguistic inventiveness, The Cowboy Bible is a brazen commentary on modern Mexican reality.

A young adventurer with a history of seeking impossible challenges, Kira Salak became the first person in the world to kayak alone the six hundred miles on the Niger River to Timbuktu—“the golden city of the Middle Ages” and fabled “doorway to the end of the world.”

While Salak ventures into one of the most desolate regions in Africa, looming as a reminder of the danger she faces is the fate of great Scottish explorer Mungo Park, killed on the same route in 1797. Enduring tropical storms, hippos, rapids, the unrelenting heat of the Sahara, and the mercurial moods of the river, Salak learns that little has changed since Park’s time. When she comes ashore each night to find food and shelter among locals in mud-hut villages, tribes alternatively revere and revile her, and Salak, in turn, is equally fascinated and infuriated by the traditions she encounters. Surviving dysentery and rapacious pursuers, Salak arrives at her destination weak but triumphant, and achieves her ultimate goal of buying the freedom of two Bella slave women.

Unputdownable and breathtakingly suspenseful, The Cruelest Journey: Six Hundred Miles to Timbuktu is a beautifully rendered meditation on courage and self-mastery by an audacious and inspiring young traveler and wordsmith.

Sixty years in the making and the capstone of a monumental literary career, The Diaries of Emilio Renzi: A Day in the Life is the final volume of the autobiographical trilogy from the author who is considered Borges’ heir and the vanguard of the Post-Boom generation of Latin American literature.

How could we define a perfect day? Maybe it would be better to say: how could I narrate a perfect day?

Is that why I write a diary? To capture—or reread—one of those days of unexpected happiness?

The final installment of Ricardo Piglia’s lifelong compilation of journals completes the seemingly impossible project of documenting the entire life of a writer. A Day in the Life picks up the thread of Piglia’s life in the 1980s until his death from ALS in 2017. Emilio Renzi, Piglia’s literary alter ego, navigates the tumultuous ups and downs of a post-Peronist Argentina filled with political unrest, economic instability, and a burgeoning literary scene ready to make its mark on the rest of the world and escape the shadows of legendary authors Jorge Luis Borges and Roberto Arlt.

Renzi’s peripatetic, drinking, philandering ways don’t abate as he grows older, and we’re exposed to the intrinsic insecurities that continually plague him even as fate tips in his favor and he goes on to win international literary prizes and becomes professor emeritus of Princeton University. His literary success is marred only by the disappointments and tragedies of his personal life as he deals with the death of friends and family, failed relationships, and the constant pecuniary struggles of a writer trying to live solely on his ability to produce art. The final sections of this ambitious project intimately trace the deterioration of Piglia’s body after his diagnosis: My right hand is heavy and uncooperative but I can still write. When I can no longer. . . . The crowning achievement of a prolific, internationally acclaimed author, this third volume cements Ricardo Piglia’s position as one of the most influential Latin American authors of the last century.

Praise for The Diaries of Emilio Renzi: A Day in the Life

“[A] posthumous autobiographical masterpiece. . . . [P]rofoundly moving. A meditation on both the accumulation and ephemerality of time, Piglia’s final work is a brilliant addition to world literature.”
—Publishers Weekly, Starred Review

“Filled with literary aperçus and fragments of history: an elegant, affecting close to a masterwork.”
—Kirkus Reviews, Starred Review

“Much of the fascinating material is to be found in his brief appreciations and observations, such as notes on authors and his reading, but the life-story—of someone who has dedicated himself entirely to literature—also comes across, and it is thoroughly engaging, over all three volumes of this larger work…. A fine conclusion to this diary-trilogy, and a fascinating companion piece to this author and his work.”
—M. A. Orthofer, The Complete Review

Praise for The Diaries of Emilio Renzi

“Splendidly crafted and interspliced with essays and stories, this beguiling work is to a diary as Piglia is to ‘Emilio Renzi’: a lifelong alter ego, a highly self-conscious shadow volume that brings to bear all of Piglia’s prowess as it illuminates his process of critical reading and the inevitable tensions between art and life. Amid meeting redheads at bars, he dissects styles and structures with a surgeon’s precision, turning his gaze on a range of writers, from Plato to Dashiell Hammett, returning time and again to Pavese, Faulkner, Dostoyevsky, Arlt and Borges. Chock-full of lists of books and films he consumed in those voracious early years of call girls, carbon paper, amphetamines and Heidegger, this is an embarrassment of riches — by turns an inspiring master class in narrative analysis, an accounting of the pesos left in his pockets and a novel of Piglia’s grandfather (named Emilio, natch) with his archive of World War I materials pilfered from Italian corpses. . . . No previous familiarity with Piglia’s work is needed to appreciate these bibliophilic diaries, adroitly repurposed through a dexterous game of representation and masks that speaks volumes of the role of the artist in society, the artist in his time, the artist in his tradition.”
—Mara Faye Lethem, The New York Times Book Review

“For the past few years, every Latin American novelist I know has been telling me how lavish, how grand, how transformative was the Argentinian novelist Ricardo Piglia’s final project, a fictional journal in three volumes, Los diarios de Emilio Renzi—Renzi being Piglia’s fictional alter ego. And now here at last is the first volume in English, The Diaries of Emilio Renzi: Formative Years, translated by Robert Croll. It’s something to be celebrated . . . [It] offer[s] one form of resistance to encroaching fascism: style.”
—Adam Thirlwell, BookForum, The Best Books of 2017

“[A] masterpiece. . . . everything written by Ricardo Piglia, which we read as intellectual fabrications and narrated theories, was partially or entirely lived by Emilio Renzi. The visible, cerebral chronicles hid a secret history that was flesh and bones.”
—Jorge Carrión, The New York Times

“A valediction from the noted Argentine writer, known for bringing the conventions of hard-boiled U.S. crime drama into Latin American literature . . . Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia."
—Kirkus Reviews, Starred Review

“When young Ricardo Piglia wrote the first pages of his diaries, which he would work on until the last years of his life, did he have any inkling that they would become a lesson in literary genius and the culmination of one of the greatest works of Argentine literature?”
—Samanta Schweblin, author of Fever Dream

“Ricardo Piglia, who passed away earlier this year at age seventy-five, is celebrated as one of the giants of Argentine literature, a rightful heir to legends like Borges, Cortázar, Juan Jose Saer, and Roberto Arlt. The Diaries of Emilio Renzi is his life's work . . . An American equivalent might be if Philip Roth now began publishing a massive, multi-volume autobiography in the guise of Nathan Zuckerman . . . It is truly a great work . . . This is a fantastic, very rewarding read—it seems that Piglia has found a form that can admit everything he has to say about his life, and it is a true pleasure to take it in.”
—Veronica Esposito, BOMB Magazine

“In 1957, Argentinian writer Ricardo Piglia started to write what would become 327 notebooks filled with the thoughts of his alter ego, Emilio Renzi. Piglia’s final literary act before his death in January 2017 was to organize and publish these works as Renzi’s diaries. Formative Years, the first of three volumes, covers the years 1957 to 1967, detailing Renzi’s development into a central figure of Argentine literary culture. In epigrammatic diary entries filled with memorable observations, Piglia details Renzi’s political education, relationships, views on Argentinian politics, and experiences during this remarkably productive era of Latin American fiction. As a fictionalized autobiography, it is, like the work of Karl Ove Knausgaard, of My Struggle fame, part confession and part performance. Renzi meets and corresponds with literary luminaries like Borges, Cortázar, and Márquez, and offers insightful readings of Dostoevsky, Kafka, Faulkner, and Joyce. Ilan Stavans (Quixote: The Novel and the World, 2015) provides a wonderfully informative introduction. Fans of W.G. Sebald and Roberto Bolaño will find the first installment in Piglia’s trilogy to be a fascinating portrait of a writer’s life.”
—Alexander Moran, Booklist

"Here through the Boom and Bolaño breech storms Ricardo Piglia, not just a great Latin American writer but a great writer of the American continent. Composed across his entire career, The Diaries of Emilio Renzi is Piglia's secret story of his shadow self—a book of disquiet and love and literary obsession that blurs the distinctness of each and the other."
—Hal Hlavinka, Community Bookstore (Brooklyn, NY)

“In this fictionalized autobiography, Piglia’s ability to succinctly criticize and contextualize major writers from Kafka to Flannery O’Connor is astounding, and the scattering of those insights throughout this diary are a joy to read. This book is essential reading for writers.”
—Publishers Weekly

“The Diaries of Emilio Renzi is a rare glimpse into the heart of twentieth-century Latin American literature, with the inimitable Ricardo Piglia as tour guide. More than just a traditional diary, Renzi is an illuminating voyage into the hearts of books and writers and history. An inspiring work and an important achievement.”
—Mark Haber, Brazos Bookstore (Houston, TX)

“The great Argentine writer. . . . In a career that spanned four decades, during which he became one of Latin America’s most distinctive literary voices.”
—Alejandro Chacoff, The New Yorker

“The Diaries of Emilio Renzi continue to be a fascinating literary-autobiographical experiment . . . and, especially, a wonderful immersion in literature itself. Of particular interest in showing the transition of Latin American (and specifically Argentine) literature—no longer: ‘out of sync, behind, out of place’—Piglia's range extends far beyond that too. Yes, most of this is presumably mainly of interest to the similarly literature-obsessed—but Piglia makes it hard to imagine who wouldn't be.”
— M. A. Orthofer, The Complete Review

Sixty years in the making and the capstone of a monumental literary career, The Diaries of Emilio Renzi: A Day in the Life is the final volume of the autobiographical trilogy from the author who is considered Borges’ heir and the vanguard of the Post-Boom generation of Latin American literature.

How could we define a perfect day? Maybe it would be better to say: how could I narrate a perfect day?

Is that why I write a diary? To capture—or reread—one of those days of unexpected happiness?

The final installment of Ricardo Piglia’s lifelong compilation of journals completes the seemingly impossible project of documenting the entire life of a writer. A Day in the Life picks up the thread of Piglia’s life in the 1980s until his death from ALS in 2017. Emilio Renzi, Piglia’s literary alter ego, navigates the tumultuous ups and downs of a post-Peronist Argentina filled with political unrest, economic instability, and a burgeoning literary scene ready to make its mark on the rest of the world and escape the shadows of legendary authors Jorge Luis Borges and Roberto Arlt.

Renzi’s peripatetic, drinking, philandering ways don’t abate as he grows older, and we’re exposed to the intrinsic insecurities that continually plague him even as fate tips in his favor and he goes on to win international literary prizes and becomes professor emeritus of Princeton University. His literary success is marred only by the disappointments and tragedies of his personal life as he deals with the death of friends and family, failed relationships, and the constant pecuniary struggles of a writer trying to live solely on his ability to produce art. The final sections of this ambitious project intimately trace the deterioration of Piglia’s body after his diagnosis: My right hand is heavy and uncooperative but I can still write. When I can no longer. . . . The crowning achievement of a prolific, internationally acclaimed author, this third volume cements Ricardo Piglia’s position as one of the most influential Latin American authors of the last century.

Praise for The Diaries of Emilio Renzi: A Day in the Life

“[A] posthumous autobiographical masterpiece. . . . [P]rofoundly moving. A meditation on both the accumulation and ephemerality of time, Piglia’s final work is a brilliant addition to world literature.”
—Publishers Weekly, Starred Review

“Filled with literary aperçus and fragments of history: an elegant, affecting close to a masterwork.”
—Kirkus Reviews, Starred Review

“Much of the fascinating material is to be found in his brief appreciations and observations, such as notes on authors and his reading, but the life-story—of someone who has dedicated himself entirely to literature—also comes across, and it is thoroughly engaging, over all three volumes of this larger work…. A fine conclusion to this diary-trilogy, and a fascinating companion piece to this author and his work.”
—M. A. Orthofer, The Complete Review

Praise for The Diaries of Emilio Renzi

“Splendidly crafted and interspliced with essays and stories, this beguiling work is to a diary as Piglia is to ‘Emilio Renzi’: a lifelong alter ego, a highly self-conscious shadow volume that brings to bear all of Piglia’s prowess as it illuminates his process of critical reading and the inevitable tensions between art and life. Amid meeting redheads at bars, he dissects styles and structures with a surgeon’s precision, turning his gaze on a range of writers, from Plato to Dashiell Hammett, returning time and again to Pavese, Faulkner, Dostoyevsky, Arlt and Borges. Chock-full of lists of books and films he consumed in those voracious early years of call girls, carbon paper, amphetamines and Heidegger, this is an embarrassment of riches — by turns an inspiring master class in narrative analysis, an accounting of the pesos left in his pockets and a novel of Piglia’s grandfather (named Emilio, natch) with his archive of World War I materials pilfered from Italian corpses. . . . No previous familiarity with Piglia’s work is needed to appreciate these bibliophilic diaries, adroitly repurposed through a dexterous game of representation and masks that speaks volumes of the role of the artist in society, the artist in his time, the artist in his tradition.”
—Mara Faye Lethem, The New York Times Book Review

“For the past few years, every Latin American novelist I know has been telling me how lavish, how grand, how transformative was the Argentinian novelist Ricardo Piglia’s final project, a fictional journal in three volumes, Los diarios de Emilio Renzi—Renzi being Piglia’s fictional alter ego. And now here at last is the first volume in English, The Diaries of Emilio Renzi: Formative Years, translated by Robert Croll. It’s something to be celebrated . . . [It] offer[s] one form of resistance to encroaching fascism: style.”
—Adam Thirlwell, BookForum, The Best Books of 2017

“[A] masterpiece. . . . everything written by Ricardo Piglia, which we read as intellectual fabrications and narrated theories, was partially or entirely lived by Emilio Renzi. The visible, cerebral chronicles hid a secret history that was flesh and bones.”
—Jorge Carrión, The New York Times

“A valediction from the noted Argentine writer, known for bringing the conventions of hard-boiled U.S. crime drama into Latin American literature . . . Fans of Cortázar, Donoso, and Gabriel García Márquez will find these to be eminently worthy last words from Piglia."
—Kirkus Reviews, Starred Review

“When young Ricardo Piglia wrote the first pages of his diaries, which he would work on until the last years of his life, did he have any inkling that they would become a lesson in literary genius and the culmination of one of the greatest works of Argentine literature?”
—Samanta Schweblin, author of Fever Dream

“Ricardo Piglia, who passed away earlier this year at age seventy-five, is celebrated as one of the giants of Argentine literature, a rightful heir to legends like Borges, Cortázar, Juan Jose Saer, and Roberto Arlt. The Diaries of Emilio Renzi is his life's work . . . An American equivalent might be if Philip Roth now began publishing a massive, multi-volume autobiography in the guise of Nathan Zuckerman . . . It is truly a great work . . . This is a fantastic, very rewarding read—it seems that Piglia has found a form that can admit everything he has to say about his life, and it is a true pleasure to take it in.”
—Veronica Esposito, BOMB Magazine

“In 1957, Argentinian writer Ricardo Piglia started to write what would become 327 notebooks filled with the thoughts of his alter ego, Emilio Renzi. Piglia’s final literary act before his death in January 2017 was to organize and publish these works as Renzi’s diaries. Formative Years, the first of three volumes, covers the years 1957 to 1967, detailing Renzi’s development into a central figure of Argentine literary culture. In epigrammatic diary entries filled with memorable observations, Piglia details Renzi’s political education, relationships, views on Argentinian politics, and experiences during this remarkably productive era of Latin American fiction. As a fictionalized autobiography, it is, like the work of Karl Ove Knausgaard, of My Struggle fame, part confession and part performance. Renzi meets and corresponds with literary luminaries like Borges, Cortázar, and Márquez, and offers insightful readings of Dostoevsky, Kafka, Faulkner, and Joyce. Ilan Stavans (Quixote: The Novel and the World, 2015) provides a wonderfully informative introduction. Fans of W.G. Sebald and Roberto Bolaño will find the first installment in Piglia’s trilogy to be a fascinating portrait of a writer’s life.”
—Alexander Moran, Booklist

"Here through the Boom and Bolaño breech storms Ricardo Piglia, not just a great Latin American writer but a great writer of the American continent. Composed across his entire career, The Diaries of Emilio Renzi is Piglia's secret story of his shadow self—a book of disquiet and love and literary obsession that blurs the distinctness of each and the other."
—Hal Hlavinka, Community Bookstore (Brooklyn, NY)

“In this fictionalized autobiography, Piglia’s ability to succinctly criticize and contextualize major writers from Kafka to Flannery O’Connor is astounding, and the scattering of those insights throughout this diary are a joy to read. This book is essential reading for writers.”
—Publishers Weekly

“The Diaries of Emilio Renzi is a rare glimpse into the heart of twentieth-century Latin American literature, with the inimitable Ricardo Piglia as tour guide. More than just a traditional diary, Renzi is an illuminating voyage into the hearts of books and writers and history. An inspiring work and an important achievement.”
—Mark Haber, Brazos Bookstore (Houston, TX)

“The great Argentine writer. . . . In a career that spanned four decades, during which he became one of Latin America’s most distinctive literary voices.”
—Alejandro Chacoff, The New Yorker

“The Diaries of Emilio Renzi continue to be a fascinating literary-autobiographical experiment . . . and, especially, a wonderful immersion in literature itself. Of particular interest in showing the transition of Latin American (and specifically Argentine) literature—no longer: ‘out of sync, behind, out of place’—Piglia's range extends far beyond that too. Yes, most of this is presumably mainly of interest to the similarly literature-obsessed—but Piglia makes it hard to imagine who wouldn't be.”
— M. A. Orthofer, The Complete Review

“Cognizant of his impending death, Piglia, the Argentine titan of letters who died of A.L.S. in January, prepared his 327 notebooks for publication in a trilogy…. Splendidly crafted and interspliced with essays and stories, this beguiling work is to a diary as Piglia is to “Emilio Renzi”: a lifelong alter ego, a highly self-conscious shadow volume that brings to bear all of Piglia’s prowess as it illuminates his process of critical reading and the inevitable tensions between art and life.” —Mara Faye Lethem, The New York Times Book Review

A giant of contemporary Latin American literature, Argentine novelist Ricardo Piglia’s secret magnum opus was a compilation of 327 notebooks that he composed over nearly six decades, in which he imagined himself as his literary alter ego, Emilio Renzi. A world-weary detective, Renzi stars in many of his creator's works, much like Philip Roth's Nathan Zuckerman. But the Renzi of these diaries is something more complex—a multilayered reconstruction of the self that is teased out over intricate, illuminating pages.

As Piglia/Renzi develops as a reader and writer, falls in love, and tussles with his tyrannical father, we get eye-opening perspectives on Latin America’s tumultuous twentieth century. Obsessed with literary giants—from Borges and Cortázar (both of whom he knew), to Kafka and Camus—The Diaries comprise a celebration of reading as a vital, existential activity.

When Piglia learned he had a fatal illness in 2011, he raced to complete his mysterious masterwork as rumors about the book intensified among his many fans. First released in Spanish as a trilogy to tremendous applause, The Diaries of Emilio Renzi cements Piglia’s place in the global canon.

“Cognizant of his impending death, Piglia, the Argentine titan of letters who died of A.L.S. in January, prepared his 327 notebooks for publication in a trilogy…. Splendidly crafted and interspliced with essays and stories, this beguiling work is to a diary as Piglia is to “Emilio Renzi”: a lifelong alter ego, a highly self-conscious shadow volume that brings to bear all of Piglia’s prowess as it illuminates his process of critical reading and the inevitable tensions between art and life.” —Mara Faye Lethem, The New York Times Book Review

A giant of contemporary Latin American literature, Argentine novelist Ricardo Piglia’s secret magnum opus was a compilation of 327 notebooks that he composed over nearly six decades, in which he imagined himself as his literary alter ego, Emilio Renzi. A world-weary detective, Renzi stars in many of his creator's works, much like Philip Roth's Nathan Zuckerman. But the Renzi of these diaries is something more complex—a multilayered reconstruction of the self that is teased out over intricate, illuminating pages.

As Piglia/Renzi develops as a reader and writer, falls in love, and tussles with his tyrannical father, we get eye-opening perspectives on Latin America’s tumultuous twentieth century. Obsessed with literary giants—from Borges and Cortázar (both of whom he knew), to Kafka and Camus—The Diaries comprise a celebration of reading as a vital, existential activity.

When Piglia learned he had a fatal illness in 2011, he raced to complete his mysterious masterwork as rumors about the book intensified among his many fans. First released in Spanish as a trilogy to tremendous applause, The Diaries of Emilio Renzi cements Piglia’s place in the global canon.

The second installment of Argentine literary giant Ricardo Piglia’s acclaimed bibliophilic trilogy follows his alter ego, Emilio Renzi, as his literary career begins to take off in the tumultuous years 1968-1975—running a magazine, working as a publisher, and encountering the literary stars among whom he would soon take his place: Borges, Puig, Roa Bastos, Piñera.

“One writes,” Ricardo Piglia asserts, only “in order to know literature.” Spanning the years 1968 to 1975, The Diaries of Emilio Renzi: The Happy Years is a testament to Piglia’s intimate, lifelong love affair with the written word. This second installment of the Argentinian master’s diaries opens a window into a luminous literary community fertile with genius and ever-traipsing from bar to bar—as well as into a convulsing Argentina racked by the death of Perón, guerilla warfare, and a bloody military coup—and establishes itself as the definitive backbone of Piglia’s monumental career.

The second installment of Argentine literary giant Ricardo Piglia’s acclaimed bibliophilic trilogy follows his alter ego, Emilio Renzi, as his literary career begins to take off in the tumultuous years 1968-1975—running a magazine, working as a publisher, and encountering the literary stars among whom he would soon take his place: Borges, Puig, Roa Bastos, Piñera.

“One writes,” Ricardo Piglia asserts, only “in order to know literature.” Spanning the years 1968 to 1975, The Diaries of Emilio Renzi: The Happy Years is a testament to Piglia’s intimate, lifelong love affair with the written word. This second installment of the Argentinian master’s diaries opens a window into a luminous literary community fertile with genius and ever-traipsing from bar to bar—as well as into a convulsing Argentina racked by the death of Perón, guerilla warfare, and a bloody military coup—and establishes itself as the definitive backbone of Piglia’s monumental career.

In this deadly-funny debut novel by renowned Brazilian actress Fernanda Torres, five macho friends in Rio’s Copacabana reflect on their hedonistic glory days—now supplanted by the indignities of aging—in what turn out to be their final moments.

With uncanny insight into the less virtuous corners of the male psyche, Fernanda Torres brings us five friends who once milked the high life of Rio’s Bossa Nova age and are now left with memories—parties, marriages, divorces, fixations, inhibitions, bad decisions—and the grim realities of getting old. Álvaro lives alone and bemoans the evils of his ex-wife. Sílvio can’t give up the excesses of sex and drugs. Ribeiro is a vain, Viagra-abusing beach bum. Neto is the square, a faithful husband until the end. Ciro is the Don Juan envied by all—but the first to die. Cutting in on these swan songs are the testimonies of those the men seduced, cheated, loved, and abandoned: their wives and children. Edgy, funny, and wise, The End is a candid tropical tragicomedy and an epitaph for a lost generation of machos.

In this deadly-funny debut novel by renowned Brazilian actress Fernanda Torres, five macho friends in Rio’s Copacabana reflect on their hedonistic glory days—now supplanted by the indignities of aging—in what turn out to be their final moments.

With uncanny insight into the less virtuous corners of the male psyche, Fernanda Torres brings us five friends who once milked the high life of Rio’s Bossa Nova age and are now left with memories—parties, marriages, divorces, fixations, inhibitions, bad decisions—and the grim realities of getting old. Álvaro lives alone and bemoans the evils of his ex-wife. Sílvio can’t give up the excesses of sex and drugs. Ribeiro is a vain, Viagra-abusing beach bum. Neto is the square, a faithful husband until the end. Ciro is the Don Juan envied by all—but the first to die. Cutting in on these swan songs are the testimonies of those the men seduced, cheated, loved, and abandoned: their wives and children. Edgy, funny, and wise, The End is a candid tropical tragicomedy and an epitaph for a lost generation of machos.

American Book Award-winning poet Jimmy Santiago Baca endured decades in the penal system before becoming a renowned poet and a father. In these collections of strikingly expressive verse, Baca celebrates parenthood and presents, with brutal honesty, the daily complexities of adult life in the age of 9/11 and the Iraq War. This ex-convict, an essential voice in world poetry, chronicles the changes that envelop him upon the arrival of two of his children, Lucia and Esai. After “twenty-five years in the system, brutal, corrupt, hate-filled, and frenzied with violence . . . beatings, shock-therapy, abandonment, terror, death threats, stabbings,” he refuses to give in to evil and despair.

Recalling the works of other poets who passed through the horrors of extreme experience—Nazim Hikmet, Paul Celan, Joseph Brodsky, Alexander Wat, Otto René Castillo, and a host of others—The Lucia Poems and The Esai Poems give poignant acknowledgement to one generation’s failings and pass on humane advice to the next. Taken together as Breaking Bread with the Darkness, these two collections offer a poetic primer for paternity, and a model for teaching the young history, politics, spirituality, and survival.

"Brimming with intolerable rapture, I almost killed myself many, many times. I wasn’t trying to; my love for life just kept spilling me over boundaries into places from which some people don’t come back. Hardly restricted by social convention, I hurt myself by being so rambunctious and romantic."

How much of our past does our face betray? What future fortune can you read in the lines and skin? What trace is left by other lips and fingers and fists? In this beautiful, boisterous account, by turns soul-searching and erotic, acclaimed Chicano and Native American poet Jimmy Santiago Baca reveals the story of his life as told through his face. An orphan, a runaway, and an inmate in a maximum-security prison before he became a world-renowned writer, Baca’s life has been touched with rapture and despair, passion and purgatory. “In my eagerness to thrust forth and excel in life,” Baca writes, “I found fame in all the wrong places.”

Presented by Restless Books as part of an ongoing series of succinct essays featuring some of the world’s most distinctive voices, this installment of The Face is Baca’s meditation on the different faces we show the world, and the ways in which the world marks us with its joys and sorrows. With echoes of Walt Whitman and Pablo Neruda, Baca speaks for a people alienated by history, in search of their own recognizable faces. The Face is the record of a lasting quest for self-recognition by one of our most distinguished poets.

“Ruth Ozeki, a Zen Buddhist priest, sets herself the task of staring at her face in a mirror for three full, uninterrupted hours; her ruminations ripple out from personal and familial memories to wise and honest meditations on families and aging, race and the body.” —Minneapolis Star Tribune

What did your face look like before your parents were born? In The Face: A Time Code, bestselling author and Zen Buddhist priest Ruth Ozeki recounts, in moment-to-moment detail, a profound encounter with memory and the mirror. According to ancient Zen tradition, “your face before your parents were born” is your true face. Who are you? What is your true self? What is your identity before or beyond the dualistic distinctions, like father/mother and good/evil, that define us?

With these questions in mind, Ozeki challenges herself to spend three hours gazing into her own reflection, recording her thoughts, and noticing every possible detail. Those solitary hours open up a lifetime's worth of meditations on race, aging, family, death, the body, self doubt, and, finally, acceptance. In this lyrical short memoir, Ozeki calls on her experience of growing up in the wake of World War II as a half-Japanese, half-Caucasian American; of having a public face as an author; of studying the intricate art of the Japanese Noh mask; of being ordained as a Zen Buddhist priest; and of her own and her parents’ aging, to paint a rich and utterly unique portrait of a life as told through a face.

Alternately philosophical, funny, personal, political, and poetic, the short memoirs in The Face series offer unique perspectives from some of our favorite writers. Find out more at www.restlessbooks.com/the-face.

“Ruth Ozeki, a Zen Buddhist priest, sets herself the task of staring at her face in a mirror for three full, uninterrupted hours; her ruminations ripple out from personal and familial memories to wise and honest meditations on families and aging, race and the body.” —Minneapolis Star Tribune

What did your face look like before your parents were born? In The Face: A Time Code, bestselling author and Zen Buddhist priest Ruth Ozeki recounts, in moment-to-moment detail, a profound encounter with memory and the mirror. According to ancient Zen tradition, “your face before your parents were born” is your true face. Who are you? What is your true self? What is your identity before or beyond the dualistic distinctions, like father/mother and good/evil, that define us?

With these questions in mind, Ozeki challenges herself to spend three hours gazing into her own reflection, recording her thoughts, and noticing every possible detail. Those solitary hours open up a lifetime's worth of meditations on race, aging, family, death, the body, self doubt, and, finally, acceptance. In this lyrical short memoir, Ozeki calls on her experience of growing up in the wake of World War II as a half-Japanese, half-Caucasian American; of having a public face as an author; of studying the intricate art of the Japanese Noh mask; of being ordained as a Zen Buddhist priest; and of her own and her parents’ aging, to paint a rich and utterly unique portrait of a life as told through a face.

Alternately philosophical, funny, personal, political, and poetic, the short memoirs in The Face series offer unique perspectives from some of our favorite writers. Find out more at www.restlessbooks.com/the-face.

The Israeli Republic "suggests how the Iranian and Israeli leaders who feel such intense mutual hostility today actually mirror one another in certain ways, particularly in their foundational attitudes toward religious authority, political and economic populism and the West. That a writer such as Al-e Ahmad, guru to the ayatollahs, liked Israel now seems touching. What he liked about Israel seems cautionary." —Bernard Avishai, Foreign Affairs

Written by a preeminent Iranian writer who helped lay the popular groundwork for the Iranian Revolution, The Israeli Republic should be required reading for anyone interested in the history and current political landscape of the Middle East. Documenting Jalal Al-e Ahmad’s two-week-long trip to Israel in February of 1963, his account “Journey to the Land of Israel” caused a firestorm when it was published in Iran, upsetting the very revolutionary clerics whose anti-Western sentiments Al-e Ahmad himself had fueled. Yet, in the thriving Jewish State, Jalal Al-e Ahmad saw a model for a possible future Iran.

Based on his controversial travelogue, supplemented with letters between the author and his wife, Simin Daneshvar (the first major Iranian woman novelist), and translated into English for the first time, The Israeli Republic is a record of Al-e Ahmad’s idealism, insight, and ultimate disillusionment toward Israel. Vibrantly modern in its sensibility and fearlessly polemical, this book will change the way you think about the Middle East.

The Israeli Republic "suggests how the Iranian and Israeli leaders who feel such intense mutual hostility today actually mirror one another in certain ways, particularly in their foundational attitudes toward religious authority, political and economic populism and the West. That a writer such as Al-e Ahmad, guru to the ayatollahs, liked Israel now seems touching. What he liked about Israel seems cautionary." —Bernard Avishai, Foreign Affairs

Written by a preeminent Iranian writer who helped lay the popular groundwork for the Iranian Revolution, The Israeli Republic should be required reading for anyone interested in the history and current political landscape of the Middle East. Documenting Jalal Al-e Ahmad’s two-week-long trip to Israel in February of 1963, his account “Journey to the Land of Israel” caused a firestorm when it was published in Iran, upsetting the very revolutionary clerics whose anti-Western sentiments Al-e Ahmad himself had fueled. Yet, in the thriving Jewish State, Jalal Al-e Ahmad saw a model for a possible future Iran.

Based on his controversial travelogue, supplemented with letters between the author and his wife, Simin Daneshvar (the first major Iranian woman novelist), and translated into English for the first time, The Israeli Republic is a record of Al-e Ahmad’s idealism, insight, and ultimate disillusionment toward Israel. Vibrantly modern in its sensibility and fearlessly polemical, this book will change the way you think about the Middle East.

Introduced by beloved Cuban science fiction author Yoss as one of the foundational novels of the genre, Miguel Collazo’s 1960s classic The Journey is a mind-opening parable of social progress, prophets and reluctant masses, and humanity’s metaphysical voyage inward.

On planet Ambar, long ago colonized by scientists who arrived by spaceship, inhabitants no longer live in cities. Generation after generation, Ambarians wander through the desert, the valley, and the ruins as the mysterious “symbols” loom in the sky. Once a new generation develops the ability to broadcast images, feelings and memories to others, they start to hope and wait for a life-changing transformation: The Journey.

Filled with intricate family trees, huge desert flowers, and intelligent automatons, Miguel Collazo’s evocative world traces the makings of a civilization that has lost its way and gradually rebuilds itself in a desolate landscape. This multi-generational saga highlights what binds us together as a community and the roles that memory, affection, and hope play in our history.

One of what Cuban science fiction great Daína Chaviano calls the “hexagon of top-notch, almost inimitable Cuban books of the genre,” The Journey is essential reading for anyone interested in the roots of Cuban literature and science fiction.

A year spent at the precipice of severe climate change in oceanfront Spain.

The Last House Before the Sea is the magnificent result of a year lived on the island of Buda, contemplating the passing of the seasons, the marshes, the seabirds, and a relentless horizon. In its pages, Gabi Martínez stitches scenes of the natural world alongside the day-to-day lives of this unique island's residents, many of whom have called it home for generations. But something disrupts the slow rhythms of eel fishing, rice farming, and the Ebro River's flow to the coast. Something is shifting.

As climate change tilts the scales of a fragile coexistence, and rising sea levels threaten to swallow their homes, the island's locals must reconcile their past and future—both beholden to a region that grows more endangered with each passing day.

A year spent at the precipice of severe climate change in oceanfront Spain.

The Last House Before the Sea is the magnificent result of a year lived on the island of Buda, contemplating the passing of the seasons, the marshes, the seabirds, and a relentless horizon. In its pages, Gabi Martínez stitches scenes of the natural world alongside the day-to-day lives of this unique island's residents, many of whom have called it home for generations. But something disrupts the slow rhythms of eel fishing, rice farming, and the Ebro River's flow to the coast. Something is shifting.

As climate change tilts the scales of a fragile coexistence, and rising sea levels threaten to swallow their homes, the island's locals must reconcile their past and future—both beholden to a region that grows more endangered with each passing day.

American Book Award-winning poet Jimmy Santiago Baca endured decades in the penal system before becoming a renowned poet and a father. In these collections of strikingly expressive verse, Baca celebrates parenthood and presents, with brutal honesty, the daily complexities of adult life in the age of 9/11 and the Iraq War. This ex-convict, an essential voice in world poetry, chronicles the changes that envelop him upon the arrival of two of his children, Lucia and Esai. After “twenty-five years in the system, brutal, corrupt, hate-filled, and frenzied with violence . . . beatings, shock-therapy, abandonment, terror, death threats, stabbings,” he refuses to give in to evil and despair.

Recalling the works of other poets who passed through the horrors of extreme experience—Nazim Hikmet, Paul Celan, Joseph Brodsky, Alexander Wat, Otto René Castillo, and a host of others—The Lucia Poems and The Esai Poems give poignant acknowledgement to one generation’s failings and pass on humane advice to the next. Taken together as Breaking Bread with the Darkness, these two collections offer a poetic primer for paternity, and a model for teaching the young history, politics, spirituality, and survival.

A rediscovered classic, and the only known novel by Black abolitionist and political exile Louis Timagène Houat, The Maroons is a fervid account of slavery and escape on nineteenth-century Réunion Island.

Frême is a young African man forced into slavery on Réunion, an island east of Madagascar in the Indian Ocean. Plagued by memories of his childhood sweetheart, a white woman named Marie, Frême seeks her out—but when they are persecuted for their love, the two flee into the forest. There they meet other “maroons”: formerly enslaved people and courageous rebels who have chosen freedom at the risk of their lives.

Now available in English for the first time, The Maroons highlights slavery’s abject conditions under the French empire, and attests to the widespread phenomenon of enslaved people escaping captivity to forge a new life beyond the reach of so-called “civilization.” Banned by colonial authorities at the time of its publication in 1844, the book fell into obscurity for over a century before its rediscovery in the 1970s. Since its first reissue, the novel has been recognized for its extraordinary historical significance and literary quality.

Presented here in a sensitive translation by Aqiil Gopee with Jeffrey Diteman, and with a keen introduction by journalist and author Shenaz Patel, The Maroons is a vital resource for rethinking the nineteenth-century canon, and a fascinating read on the struggle for freedom and social justice.

A rediscovered classic, and the only known novel by Black abolitionist and political exile Louis Timagène Houat, The Maroons is a fervid account of slavery and escape on nineteenth-century Réunion Island.

Frême is a young African man forced into slavery on Réunion, an island east of Madagascar in the Indian Ocean. Plagued by memories of his childhood sweetheart, a white woman named Marie, Frême seeks her out—but when they are persecuted for their love, the two flee into the forest. There they meet other “maroons”: formerly enslaved people and courageous rebels who have chosen freedom at the risk of their lives.

Now available in English for the first time, The Maroons highlights slavery’s abject conditions under the French empire, and attests to the widespread phenomenon of enslaved people escaping captivity to forge a new life beyond the reach of so-called “civilization.” Banned by colonial authorities at the time of its publication in 1844, the book fell into obscurity for over a century before its rediscovery in the 1970s. Since its first reissue, the novel has been recognized for its extraordinary historical significance and literary quality.

Presented here in a sensitive translation by Aqiil Gopee with Jeffrey Diteman, and with a keen introduction by journalist and author Shenaz Patel, The Maroons is a vital resource for rethinking the nineteenth-century canon, and a fascinating read on the struggle for freedom and social justice.

“A brilliant short novel that serves as a brave, sharp-toothed brief against letting the past devour the present” (The New York Times Book Review Editors’ Choice), Yishai Sarid’s The Memory Monster is a harrowing parable of a young historian who becomes consumed by the memory of the Holocaust.

A NEW YORK TIMES BOOK REVIEW 100 NOTABLE BOOKS OF 2020 SELECTION

Written as a report to the chairman of Yad Vashem, Israel’s memorial to the victims of the Holocaust, our unnamed narrator recounts his own undoing. Hired as a promising young historian, he soon becomes a leading expert on Nazi methods of extermination at concentration camps in Poland during World War II and guides tours through the sites for students and visiting dignitaries. He hungrily devours every detail of life and death in the camps and takes pride in being able to recreate for his audience the excruciating last moments of the victims’ lives.

The job becomes a mission, and then an obsession. Spending so much time immersed in death, his connections with the living begin to deteriorate. He resents the students lost in their iPhones, singing sentimental songs, not expressing sufficient outrage at the genocide committed by the Nazis. In fact, he even begins to detect, in the students as well as himself, a hint of admiration for the murderers—their efficiency, audacity, and determination. Force is the only way to resist force, he comes to think, and one must be prepared to kill.

With the perspicuity of Kafka’s The Trial and the obsessions of Delillo’s White Noise, The Memory Monster confronts difficult questions that are all too relevant to Israel and the world today: How do we process human brutality? What makes us choose sides in conflict? And how do we honor the memory of horror without becoming consumed by it?

“A brilliant short novel that serves as a brave, sharp-toothed brief against letting the past devour the present” (The New York Times Book Review Editors’ Choice), Yishai Sarid’s The Memory Monster is a harrowing parable of a young historian who becomes consumed by the memory of the Holocaust.

A NEW YORK TIMES BOOK REVIEW 100 NOTABLE BOOKS OF 2020 SELECTION

Written as a report to the chairman of Yad Vashem, Israel’s memorial to the victims of the Holocaust, our unnamed narrator recounts his own undoing. Hired as a promising young historian, he soon becomes a leading expert on Nazi methods of extermination at concentration camps in Poland during World War II and guides tours through the sites for students and visiting dignitaries. He hungrily devours every detail of life and death in the camps and takes pride in being able to recreate for his audience the excruciating last moments of the victims’ lives.

The job becomes a mission, and then an obsession. Spending so much time immersed in death, his connections with the living begin to deteriorate. He resents the students lost in their iPhones, singing sentimental songs, not expressing sufficient outrage at the genocide committed by the Nazis. In fact, he even begins to detect, in the students as well as himself, a hint of admiration for the murderers—their efficiency, audacity, and determination. Force is the only way to resist force, he comes to think, and one must be prepared to kill.

With the perspicuity of Kafka’s The Trial and the obsessions of Delillo’s White Noise, The Memory Monster confronts difficult questions that are all too relevant to Israel and the world today: How do we process human brutality? What makes us choose sides in conflict? And how do we honor the memory of horror without becoming consumed by it?

“A brilliant short novel that serves as a brave, sharp-toothed brief against letting the past devour the present” (The New York Times Book Review Editors’ Choice), Yishai Sarid’s The Memory Monster is a harrowing parable of a young historian who becomes consumed by the memory of the Holocaust.

A NEW YORK TIMES BOOK REVIEW 100 NOTABLE BOOKS OF 2020 SELECTION

Written as a report to the chairman of Yad Vashem, Israel’s memorial to the victims of the Holocaust, our unnamed narrator recounts his own undoing. Hired as a promising young historian, he soon becomes a leading expert on Nazi methods of extermination at concentration camps in Poland during World War II and guides tours through the sites for students and visiting dignitaries. He hungrily devours every detail of life and death in the camps and takes pride in being able to recreate for his audience the excruciating last moments of the victims’ lives.

The job becomes a mission, and then an obsession. Spending so much time immersed in death, his connections with the living begin to deteriorate. He resents the students lost in their iPhones, singing sentimental songs, not expressing sufficient outrage at the genocide committed by the Nazis. In fact, he even begins to detect, in the students as well as himself, a hint of admiration for the murderers—their efficiency, audacity, and determination. Force is the only way to resist force, he comes to think, and one must be prepared to kill.

With the perspicuity of Kafka’s The Trial and the obsessions of Delillo’s White Noise, The Memory Monster confronts difficult questions that are all too relevant to Israel and the world today: How do we process human brutality? What makes us choose sides in conflict? And how do we honor the memory of horror without becoming consumed by it?

Award-winning journalist Javier Sinay investigates a series of murders from the nineteenth century, unearthing the complex history and legacy of Moisés Ville, the “Jerusalem of South America,” and his personal connection to a defining period of Jewish history in Argentina.When Argentine journalist Javier Sinay discovers an article from 1947 by his great-grandfather detailing twenty-two murders that had occurred in Moisés Ville at the end of the nineteenth century, he launches into his own investigation that soon turns into something deeper: an exploration of the history of Moisés Ville, one of the first Jewish agricultural communities in Argentina, and Sinay’s own connection to this historically thriving Jewish epicenter.

Seeking refuge from the pogroms of Czarist Russia, a group of Jewish immigrants founded Moisés Ville in the late 1880s. Like their town’s prophetic namesake, these immigrants fled one form of persecution only to encounter a different set of hardships: exploitative land prices, starvation, illness, language barriers, and a series of murders perpetrated by roving gauchos who preyed upon their vulnerability. Sinay, though a descendant of these immigrants, is unfamiliar with this turbulent history, and his research into the spate of violence plunges him into his family’s past and their link to Moisés Ville. He combs through libraries and archives in search of documents about the murders and hires a book detective to track down issues of Der Viderkol, the first Yiddish newspaper in Argentina started by his great-grandfather. He even enrolls in Yiddish classes so he can read the newspaper and other contemporaneous records for himself. Through interviews with his family members, current residents of Moisés Ville, historians, and archivists, Sinay compiles moving portraits of the victims of these heinous murders and reveals the fascinating and complex history of the town once known as the “Jerusalem of South America.”

“Sinay acknowledges the impossibility of fully separating legends from facts. . . but his diligence has produced as definitive an account as possible of what actually happened during this bloody period. This nuanced search for truth should have broad appeal.”
—Publishers Weekly, starred review

"I greatly admire Javier Sinay's enlightening and humane account of his sleuthing—the disinterment of a violent episode of buried history—now no longer forgotten. Its implications resonate far beyond the borders of Argentina."
—Paul Theroux, author of The Mosquito Coast and Under the Wave at Waimea

"Part detective story, part family history, The Murders of Moisés Ville: The Rise and Fall of the Jerusalem of South America — by Buenos Aires journalist Javier Sinay— offers a compelling path to learn more."

—Howard Freedman, Jewish News of Northern California

“In the pursuit to understand his own past, while unraveling the mysteries surrounding Moisés Ville, Javier Sinay has created an unflinching portrait of the first Jewish community in Argentina, who, despite enormous challenges, life-threatening privations, and demeaning persecution, endured to pave the way for others seeking a new life in Argentina…Sinay has demonstrated once again, that history must be preserved no matter the cost – for ourselves, as well as for future generations.”

—Stephen Newton, Litro Magazine

“ What begins as an exercise in historical sleuthing evolves into a more ambitious exploration of Argentine Jewish history and identity…Sinay doesn’t need to create a direct connection to this tragic present. It is more than enough that he refuses to flatten the Moisés Ville murders to fit a totalizing narrative of antisemitic violence in Argentina. In so doing, he not only rejects facile conceptions of Jewish victimhood, but also defies the Zionist idea that, by virtue of having suffered in one country, Jews are automatically entitled to land in another.”

—Lily Meyer, Jewish Currents

Award-winning journalist Javier Sinay investigates a series of murders from the nineteenth century, unearthing the complex history and legacy of Moisés Ville, the “Jerusalem of South America,” and his personal connection to a defining period of Jewish history in Argentina.When Argentine journalist Javier Sinay discovers an article from 1947 by his great-grandfather detailing twenty-two murders that had occurred in Moisés Ville at the end of the nineteenth century, he launches into his own investigation that soon turns into something deeper: an exploration of the history of Moisés Ville, one of the first Jewish agricultural communities in Argentina, and Sinay’s own connection to this historically thriving Jewish epicenter.

Seeking refuge from the pogroms of Czarist Russia, a group of Jewish immigrants founded Moisés Ville in the late 1880s. Like their town’s prophetic namesake, these immigrants fled one form of persecution only to encounter a different set of hardships: exploitative land prices, starvation, illness, language barriers, and a series of murders perpetrated by roving gauchos who preyed upon their vulnerability. Sinay, though a descendant of these immigrants, is unfamiliar with this turbulent history, and his research into the spate of violence plunges him into his family’s past and their link to Moisés Ville. He combs through libraries and archives in search of documents about the murders and hires a book detective to track down issues of Der Viderkol, the first Yiddish newspaper in Argentina started by his great-grandfather. He even enrolls in Yiddish classes so he can read the newspaper and other contemporaneous records for himself. Through interviews with his family members, current residents of Moisés Ville, historians, and archivists, Sinay compiles moving portraits of the victims of these heinous murders and reveals the fascinating and complex history of the town once known as the “Jerusalem of South America.”

“Sinay acknowledges the impossibility of fully separating legends from facts. . . but his diligence has produced as definitive an account as possible of what actually happened during this bloody period. This nuanced search for truth should have broad appeal.”
—Publishers Weekly, starred review

"I greatly admire Javier Sinay's enlightening and humane account of his sleuthing—the disinterment of a violent episode of buried history—now no longer forgotten. Its implications resonate far beyond the borders of Argentina."
—Paul Theroux, author of The Mosquito Coast and Under the Wave at Waimea

"Part detective story, part family history, The Murders of Moisés Ville: The Rise and Fall of the Jerusalem of South America — by Buenos Aires journalist Javier Sinay— offers a compelling path to learn more."

—Howard Freedman, Jewish News of Northern California

“In the pursuit to understand his own past, while unraveling the mysteries surrounding Moisés Ville, Javier Sinay has created an unflinching portrait of the first Jewish community in Argentina, who, despite enormous challenges, life-threatening privations, and demeaning persecution, endured to pave the way for others seeking a new life in Argentina…Sinay has demonstrated once again, that history must be preserved no matter the cost – for ourselves, as well as for future generations.”

—Stephen Newton, Litro Magazine

“ What begins as an exercise in historical sleuthing evolves into a more ambitious exploration of Argentine Jewish history and identity…Sinay doesn’t need to create a direct connection to this tragic present. It is more than enough that he refuses to flatten the Moisés Ville murders to fit a totalizing narrative of antisemitic violence in Argentina. In so doing, he not only rejects facile conceptions of Jewish victimhood, but also defies the Zionist idea that, by virtue of having suffered in one country, Jews are automatically entitled to land in another.”

—Lily Meyer, Jewish Currents

“In the steppe near Tashkent they came upon a never-ending ladder with wooden rungs and iron rails and that stretched across the earth from horizon to horizon ... Whistling and thundering, a snake-like wonder hurtled past them, packed both on the inside and on top with infidels shouting and waving their hands. ‘The End of the World!’ thought both Mahmud-Hodja the Sunni and Djebral the Shiite.”

Set mainly in Uzbekistan between 1900 and 1980, The Railway introduces to us the inhabitants of the small town of Gilas on the ancient Silk Route. Among those whose stories we hear are Mefody-Jurisprudence, the town's alcoholic intellectual; Father Ioann, a Russian priest; Kara-Musayev the Younger, the chief of police; and Umarali-Moneybags, the old moneylender. Their colorful lives offer a unique and comic picture of a little-known land populated by outgoing Mullahs, incoming Bolsheviks, and a plethora of Uzbeks, Russians, Persians, Jews, Koreans, Tatars, and Gypsies.

At the heart of both the town and the novel stands the railway station—a source of income and influence, and a connection to the greater world beyond the town. Rich and picaresque, The Railway is full of color. Sophisticated yet with a naive delight in storytelling, it chronicles the dramatic changes felt throughout Central Asia in the early twentieth century.

From best-selling Brazilian novelist Patrícia Melo comes a genre-defying tale of women in the Amazon and their reckoning with brutal oppression—by turns poetic, humorous, dark, and inspiring.

The Simple Art of Killing a Woman vividly conjures the epidemic of femicide in Brazil, the power women can hold in the face of overwhelming male violence, the resilience of community despite state-sponsored degradation, and the potential of the jungle to save us all.

To escape her newly aggressive lover, a young lawyer accepts an assignment in the Amazonian border town of Cruzeiro do Sul. There, she meets Carla, a local prosecutor, and Marcos, the son of an indigenous woman, and learns about the rampant attacks on the region’s women, which have grown so commonplace that the cases quickly fill her large notebook. What she finds in the jungle is not only persistent racism, patriarchy, and deforestation, but a deep longing for answers to her enigmatic past. Through the ritual use of ayahuasca, she meets a chorus of Icamiabas, warrior women bent on vengeance—and gradually, she recovers the details of her own mother’s early death.

The Simple Art of Killing a Woman resists categorization: it is a series of prose poems lamenting the real-life women murdered by so many men in Brazil; a personal search for history, truth, and belonging; and a modern, exacting, and sometimes fantastical take on very old problems that, despite our better selves, dog us the world over.

From best-selling Brazilian novelist Patrícia Melo comes a genre-defying tale of women in the Amazon and their reckoning with brutal oppression—by turns poetic, humorous, dark, and inspiring.

The Simple Art of Killing a Woman vividly conjures the epidemic of femicide in Brazil, the power women can hold in the face of overwhelming male violence, the resilience of community despite state-sponsored degradation, and the potential of the jungle to save us all.

To escape her newly aggressive lover, a young lawyer accepts an assignment in the Amazonian border town of Cruzeiro do Sul. There, she meets Carla, a local prosecutor, and Marcos, the son of an indigenous woman, and learns about the rampant attacks on the region’s women, which have grown so commonplace that the cases quickly fill her large notebook. What she finds in the jungle is not only persistent racism, patriarchy, and deforestation, but a deep longing for answers to her enigmatic past. Through the ritual use of ayahuasca, she meets a chorus of Icamiabas, warrior women bent on vengeance—and gradually, she recovers the details of her own mother’s early death.

The Simple Art of Killing a Woman resists categorization: it is a series of prose poems lamenting the real-life women murdered by so many men in Brazil; a personal search for history, truth, and belonging; and a modern, exacting, and sometimes fantastical take on very old problems that, despite our better selves, dog us the world over.

From Alejandro Jodorowsky—the legendary director of The Holy Mountain, spiritual guru behind Psychomagic and The Way of Tarot, and author of Where the Bird Sings Best—comes another autobiographical tour-de-force: a mythopoetic portrait of the artist as a young man in Chile in the tumultuous 1930s.

In Where the Bird Sings Best, Alejandro Jodorowsky’s visionary autobiographical novel that NPR compared to One Hundred Years of Solitude and called “a genius’s surreal vision brought to life,” we followed Jodorowsky’s predecessors as they fled to Chile amid a fantastical array of circuses, Tarot, Catholic and Jewish mysticism, sexual extravagance, political violence, and the ghost of a wise rabbi serving as advisor. Now, in The Son of Black Thursday, Jodorowsky himself takes the stage as we’re introduced to the unforgettable cast of his early years in Chile in the 1930s.

We follow his father, Jaime, who’s obsessed with assassinating the dictator he ends up serving; his mother, Sarah, a giantess who never speaks but communicates through operatic singing; his grandparents, Ukrainian Jewish exiles fleeing persecution in the Ukraine; his twin sister, who is made to suckle a mannequin until she is ten in order to silence her delirious speeches; among other creatures of every description as they struggle against the misery and oppression of the copper mines of the Chilean desert.

As he’s done across media from film to comics to mystic philosophy to fiction, Jodorowsky once again demonstrates his boundless capacity for creating a universe of wonder, horror, humor, magic, and cosmic truth beyond our wildest imaginings. The Son of Black Thursday is a gripping novel from one of our most treasured masters.

From Alejandro Jodorowsky—the legendary director of The Holy Mountain, spiritual guru behind Psychomagic and The Way of Tarot, and author of Where the Bird Sings Best—comes another autobiographical tour-de-force: a mythopoetic portrait of the artist as a young man in Chile in the tumultuous 1930s.

In Where the Bird Sings Best, Alejandro Jodorowsky’s visionary autobiographical novel that NPR compared to One Hundred Years of Solitude and called “a genius’s surreal vision brought to life,” we followed Jodorowsky’s predecessors as they fled to Chile amid a fantastical array of circuses, Tarot, Catholic and Jewish mysticism, sexual extravagance, political violence, and the ghost of a wise rabbi serving as advisor. Now, in The Son of Black Thursday, Jodorowsky himself takes the stage as we’re introduced to the unforgettable cast of his early years in Chile in the 1930s.

We follow his father, Jaime, who’s obsessed with assassinating the dictator he ends up serving; his mother, Sarah, a giantess who never speaks but communicates through operatic singing; his grandparents, Ukrainian Jewish exiles fleeing persecution in the Ukraine; his twin sister, who is made to suckle a mannequin until she is ten in order to silence her delirious speeches; among other creatures of every description as they struggle against the misery and oppression of the copper mines of the Chilean desert.

As he’s done across media from film to comics to mystic philosophy to fiction, Jodorowsky once again demonstrates his boundless capacity for creating a universe of wonder, horror, humor, magic, and cosmic truth beyond our wildest imaginings. The Son of Black Thursday is a gripping novel from one of our most treasured masters.

Restless Classics presents The Souls of Black Folk: W. E. B. Du Bois’s seminal work of sociology, with searing insights into our complex, corrosive relationship with race and the African-American consciousness. Reconsidered for the era of Obama, Trump, and Black Lives Matter, the new edition includes an incisive introduction from rising cultural critic Vann R. Newkirk II and stunning illustrations by the artist Steve Prince.

Published in 1903, exactly forty years after the Emancipation Proclamation, W.E.B. Du Bois’s The Souls of Black Folk fell into the hands of an American nation that had still not yet found “peace from its sins.” With such deep disappointment among African-Americans still awaiting full emancipation, Du Bois believed that the moderate and conciliatory efforts of civil-rights leader Booker T. Washington could only go so far. Taking to the page, Du Bois produced a resounding declaration on the rights of the American man and laid out an agenda that was at the time radical but has since proven prophetic. In fourteen chapters that move fluidly between historical and sociological essays, song and poetry, personal recollection and fiction, The Souls of Black Folk frames “the color line” as the central problem of the twentieth century and tries to answer the question, “Why did God make me an outcast and a stranger in mine own house?” Striking in his psychological precision as well as his political foresight, Du Bois advanced ithe influential ideas of “double-consciousness”—an inner conflict created by the seemingly irreconcilable “black” and “American” identities—and “the veil,” through which African-Americans must see a spectrum of economic, social, and political opportunities entirely differently from their white counterparts’.

Now, over fifty years after Du Bois’s death and the Civil Rights Act, we need this seminal work more urgently than ever. Long overdue for reconsideration, it is the latest installment of Restless Classics, featuring illustrations by master printmaker Steve Prince and a new introduction by Atlantic staff writer Vann R. Newkirk II.

Restless Classics presents The Souls of Black Folk: W. E. B. Du Bois’s seminal work of sociology, with searing insights into our complex, corrosive relationship with race and the African-American consciousness. Reconsidered for the era of Obama, Trump, and Black Lives Matter, the new edition includes an incisive introduction from rising cultural critic Vann R. Newkirk II and stunning illustrations by the artist Steve Prince.

Published in 1903, exactly forty years after the Emancipation Proclamation, W.E.B. Du Bois’s The Souls of Black Folk fell into the hands of an American nation that had still not yet found “peace from its sins.” With such deep disappointment among African-Americans still awaiting full emancipation, Du Bois believed that the moderate and conciliatory efforts of civil-rights leader Booker T. Washington could only go so far. Taking to the page, Du Bois produced a resounding declaration on the rights of the American man and laid out an agenda that was at the time radical but has since proven prophetic. In fourteen chapters that move fluidly between historical and sociological essays, song and poetry, personal recollection and fiction, The Souls of Black Folk frames “the color line” as the central problem of the twentieth century and tries to answer the question, “Why did God make me an outcast and a stranger in mine own house?” Striking in his psychological precision as well as his political foresight, Du Bois advanced ithe influential ideas of “double-consciousness”—an inner conflict created by the seemingly irreconcilable “black” and “American” identities—and “the veil,” through which African-Americans must see a spectrum of economic, social, and political opportunities entirely differently from their white counterparts’.

Now, over fifty years after Du Bois’s death and the Civil Rights Act, we need this seminal work more urgently than ever. Long overdue for reconsideration, it is the latest installment of Restless Classics, featuring illustrations by master printmaker Steve Prince and a new introduction by Atlantic staff writer Vann R. Newkirk II.

The Spines of Love collects work from Víctor Terán’s poetic oeuvre for the first time in a trilingual edition: in their original Isthmus Zapotec (an endangered indigenous Mexican language) and in David Shook’s Spanish and English translations. Sensual and intricately wrought, these poems take readers on an emotional journey through love and loss with a searing lyricism entirely Terán’s own. His lover’s body is a city where the poet can “give perfect directions,” her name slips over his tongue “like a fish between the hands / of a fisherman,” and when she leaves him it’s with memories like “an ocean of incessant fish.”

The Spines of Love stands for a simple but bracing truth: Yes, love can hurt, but even after it departs, it strengthens us.