Restless Books

With over one million copies sold in Spanish, Mexican literary legend Juan Villoro’s The Wild Book is a fantastical homage to libraries, in which a boy is sent to live with his kooky, book-obsessed uncle in a library where books have supernatural powers and adventure lies behind every cover.

Thirteen-year-old Juan’s summer is off to a terrible start. First, his parents separate. Then, almost as bad, Juan is sent away to his strange Uncle Tito’s house for the entire break! Who wants to live with an oddball recluse who has zigzag eyebrows, drinks fifteen cups of smoky tea a day, and lives inside a huge, mysterious library?

As Juan adjusts to his new life among teetering, dusty shelves, he notices something odd: the books move on their own! He rushes to tell Uncle Tito, who lets his nephew in on a secret: Juan is a Princeps Reader, which means books respond magically to him, and he’s the only one who can find the elusive, never-before-read Wild Book. But will Juan and his new friend Catalina get to The Wild Book before the wicked, story-stealing Pirate Book does?

An unforgettable adventure story about books, libraries, and the power of reading, The Wild Book is the instant-classic young readers’ debut by beloved, prize-winning Mexican author Juan Villoro.

A Kirkus Reviews "Best Books of the 21st Century" Pick

Winner of the 2022 Mildred L. Batchelder Award

A July/August 2021 Kids’ Indie Next Pick

A Junior Library Guild Gold Standard Selection

From renowned Japanese children’s author Sachiko Kashiwaba, Temple Alley Summer is a fantastical and mysterious adventure featuring the living dead, a magical pearl, and a suspiciously nosy black cat named Kiriko.

Kazu knows something odd is going on when he sees a girl in a white kimono sneak out of his house in the middle of the night—was he dreaming? Did he see a ghost? Things get even stranger when he shows up to school the next day to see the very same figure sitting in his classroom. No one else thinks it’s weird, and, even though Kazu doesn’t remember ever seeing her before, they all seem convinced that the ghost-girl Akari has been their friend for years!

When Kazu’s summer project to learn about Kimyo Temple draws the meddling attention of his mysterious neighbor Ms. Minakami and his secretive new classmate Akari, Kazu soon learns that not everything is as it seems in his hometown. Kazu discovers that Kimyo Temple is linked to a long forgotten legend about bringing the dead to life, which could explain Akari’s sudden appearance—is she a zombie or a ghost? Kazu and Akari join forces to find and protect the source of the temple's power. An unfinished story in a magazine from Akari’s youth might just hold the key to keeping Akari in the world of the living, and it’s up to them to find the story’s ending and solve the mystery as the adults around them conspire to stop them from finding the truth.

A 2019 Batchelder Honor Book

2021 Global Literature in Libraries Translated YA Book Prize Shortlist

From one of Italy’s favorite authors of young adult literature comes a gripping, true-to-life thriller of a Sicilian boy’s fight to survive after his family is torn apart by the Mafia.


A talented young runner, Santino lives in Palermo, Sicily—a beautiful region of Italy that’s dominated by the Mafia. With Santino’s first communion approaching, his father and grandfather carry out a theft to pay for the party—but they steal from the wrong people. A young, cocky Mafioso summons them to a meeting, and they bring the boy. As Santino wanders off into the old abandoned neighborhood, he hears shots and runs back to see two armed men and his father and grandfather slumped over in the car. The boy barely escapes with his life. Now, he’s left with a choice: cooperate with police and be a “rat,” or maintain Omertà: the code of silence.

Twelve-year-old Lucio lives in the northern Italian city of Livorno and dreams of sailing when not taking care of his his young sister, Ilaria, and his sick mother, who is convinced that a witch has cursed her. One day, Lucio’s mother goes missing and he receives a mysterious text: “Come to Palermo. Mamma is dying.” Panicked, Lucio grabs Ilaria and rushes to Sicily, where Lucio’s and Santino’s stories converge with explosive results.

Inspired by a real-life Mafia episode, Silvana Gandolfi’s Run for Your Life is a powerful survival story of young people finding the courage to do the right thing when faced with the cruel realities of the adult world.

“Rivka Galchen delivers joy and cleverness reminiscent of The Phantom Tollbooth, Alice in Wonderland, and Hayao Miyazaki movies” (NPR, Best Books of 2019) in Rat Rule 79, a brain-twisting adventure story about friendship, growing up, and peanut-butter-pickle sandwiches.

Fred and her math-teacher mom are always on the move, and Fred is getting sick of it. She’s about to have yet another birthday in a new place without friends. On the eve of turning thirteen, Fred sees something strange in the living room: her mother, dressed for a party, standing in front of an enormous paper lantern—which she steps into and disappears.

Fred follows her and finds herself in the Land of Impossibility—a loopily illogical place where time has been outlawed by a mad Rat Queen, along with birthday parties and, most cruelly, peanut butter. Fred meets Downer, a downcast white elephant, and Gogo, a pugnacious mongoose mother of seventeen, who help her in her quest to find her mom. Together they must brave dungeons, Insult Fish, a Know-It-Owl, Fearsome Ferlings, and ultimately the Rat Queen herself—and solve an ageless riddle to escape certain doom.

Gorgeously illustrated and reminiscent of The Phantom Tollbooth and The Wonderful Wizard of Oz, Rivka Galchen’s Rat Rule 79 is an instant classic for curious readers of all ages.

A one-of-a-kind, uplifting picture book about an Israeli boy and a Palestinian boy who bond on the soccer field—translated into English, Hebrew, and Arabic.

Daniel and Ismail, one Israeli and the other Palestinian, don’t know each other yet, but they have more in common than they know. They live in the same city and have the same birthday, and this year they get the same presents: a traditional scarf—for Daniel a tallit and for Ismail a keffiyeh—and a soccer ball. Taking their gifts out for a spin, they meet by chance on a soccer field, and they soon begin to play together and show off the tricks they can do.

They get so absorbed in the fun that they lose track of time and mix up their gifts: Daniel picks up Ismail's keffiyeh and Ismail takes Daniel's tallit. When they get home and discover their mistake, their parents are shocked and angry, asking the boys if they realize who wears those things. That night, Daniel and Ismail have nightmares about what they have seen on the news and heard from adults about the other group. But the next day, they find each other in the park and get back to what really matters: having fun and playing the game they both love.

Daniel and Ismail is a remarkable multilingual picture book that confronts the very adult conflicts that kids around the world face, and shows us that different cultures, religions, societies, and languages can all share the same page.

A Compass on the Navigable Sea is a bold, global anthology of stories that cross borders and essays that reshape worlds, reimagining what international writing can be. From Nobel laureates to dissident poets, iconic novelists to fresh contemporary voices, this collection brings together powerful essays, visionary lectures, and urgent reflections that speak to the heart of literature’s role in a rapidly changing world.

Spanning four dynamic sections—from foundational manifestos to groundbreaking critical takes, from national literatures to transnational identities—this anthology offers readers a vibrant map of how stories cross borders, bridge histories, and shape futures. Alongside works by Octavio Paz, Elie Wiesel, Ngũgĩ wa Thiong’o, Toni Morrison, Dubravka Ugrešić, and many others. Ultimately, this collection bridges genre, time, and location, and asks us: What can literature do in a time of crisis?

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.

Seven award-winning plays by rising stars of contemporary theater herald a profound shift in what it means to be an American, an immigrant, and an artist on today’s stage.

Shayok Misha Chowdhury | Public Obscenities, shortlisted for the 2024 Pulitzer Prize

Hansol Jung, 2018 Whiting Award–winner | Wolf Play

Martyna Majok, 2018 Pulitzer Prize–winner | Sanctuary City

Mona Mansour, 2020 Kesselring Prize–winner | The Hour of Feeling

Charlie Oh | Coleman ’72, 2021 Paul Stephen Lim Award–winner

Mfoniso Udofia, 2021 Horton Foote Award–winner | Sojourners

Jesús I. Valles, 2023 Yale Drama Series Prize–winner | a river, its mouths

This groundbreaking collection of works by first- and second-generation immigrants unites seven exhilarating new voices of Lebanese, Nigerian, Korean, Bengali, Polish, and Mexican descent. Echoing beyond the stage, their stories draw on common experiences of displacement, alienation, and the sense of living in suspension; sometimes torn between two worlds, sometimes plummeting into the spaces between them. Amid tangled relationships, vengeful landscapes, and buried family mysteries, something universal flickers; the search for safety and the promise of home. Both haunting and galvanizing, What This Place Makes Me will be a vital touchstone for years to come.

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 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.

In a sweeping but intimate blend of ecopoetry, mythology, and political verse, Eskatos & the Stretched Necks of Stillness communes with Sweden's primeval woodlands during an age of transformation. These collected poems lead the reader down overgrown paths, beyond the flickering of leaves and lichen, to meet "the dead": a troop of scattered spirits that Söderlund sets out to praise, and to mourn. Shining of rain and gnawing of sorrow, cast from stone, frost, surgical nails, and charcoal ash, Söderlund's hypnotic ode forms a fragile tether to a world and past that threatens to slip through our fingers, and which no generation who seeks to survive can disclaim.

In the utterly original, genre-defying, English-language debut of Finnish author Juhani Karila, a young woman’s annual pilgrimage to her home in Lapland to catch an elusive pike in three days is complicated by a host of mythical creatures, a murder detective hot on her trail, and a deadly curse hanging over her head.

When Elina makes her annual summer pilgrimage to her remote family farm in Lapland, she has three days to catch the pike in a local pond or she and the love of her life will both die. This year her task is made more difficult by the intervention of a host of deadly supernatural creatures and a murder detective on her tail.

Can Elina catch the pike and put to rest the curse that has been hanging over her head since a youthful love affair turned sour? Can Sergeant Janatuinen make it back to civilization in one piece? And just why is Lapland in summer so weird?

Fishing for the Little Pike is an audacious, genre-defying blend of fantasy, folk tale, and nature writing.

From prize-winning Korean author Kim Hye-jin comes the contemplative, superbly-crafted story of a woman scapegoated by sudden tragedy, and the unexpected paths she must wander in search of redemption.

Haesoo is a successful therapist and regular guest on a popular TV program. But when she makes a scripted negative comment about a public figure who later commits suicide, she finds herself ostracized by friends, fired from her job, and her marriage begins to unravel. These details come to the reader gradually, in meditative prose, through bits and pieces of letters that Haesoo writes and finally abandons as she walks alone through her city.

One day she has an unexpected encounter with Sei, a 10-year-old girl attempting to feed an orange cat. Stray cats seem to be everywhere; they have the concern of one other neighborhood woman and the ire of everyone else. Like Haesoo and Sei, the cats endure various insults and recover slowly. Haesoo, who would not otherwise care about animals or form relationships with children, now finds herself pulled back by degrees into the larger world.

Exquisitely written and deeply absorbing, this debut from Caine Prize–winning author Olufemi Terry captures the heady abandon of early adulthood in a country still reeling from the lasting effects of racial partition and colonialism.

When his father suggests that he take some time off to visit his cousin, Emil—a young surgeon-in-training—doesn’t ask many questions. For reasons he doesn’t yet understand, he sets aside his studies and moves into his aunt’s house in Stadmutter, a remote multiracial African city. There, he is disquieted by days of unaccustomed aimlessness and by encounters with Bolling, a wealthy foreigner who woos him intellectually and sexually, and Tamsin, a psychology student working to define herself against the fading privilege of her background.

Beneath a veneer of indolence, Stadmutter seethes. Bolling is covertly working with Braeem Shaka, an advocate for reparations, to foment racial tension that imperils the country’s fragile progress. As Shaka becomes a wanted man, Emil and Tamsin grow entangled in his future and that of a country they are both eager to escape.

Electric, defiant, and singing with melancholia, Alejandra Banca's devastating debut throws its arms around a displaced generation of young Venezuelan migrants, reveling in the clamor and beauty of their day-by-day survival.

Below the rooftops of Barcelona's historic avenues, in the shadow of the Sagrada Família and its fleet of construction cranes, thrums a vital pulse: meal-delivery bikers, sex workers, strung out artists, anti-capitalist squatters, undocumented shopgirls, fledgeling drug dealers, and a thousand more lives that cross and knit together at the lowest level of Spain's urban tumult. The young expats of these stories careen through crowded streets, night clubs, and dating apps with a devil-may-care abandon that belies their precarious circumstances. Tragedy will erupt and then ebb in an instant, receding in the rearview like a roadside collision and haunting those that push on. Running on fumes and paltry tips, Banca's beleaguered characters race along a knife's edge and find unexpected solace in moments of shared vulnerability; a knowing thread that unites these strangers in a strange land.

In this English PEN Award-winning translation by Katie Brown, From Savagery announces Alejandra Banca as a resplendent and masterful new voice in Latin American literature—one that will take readers by storm.

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.

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.

“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.

Banned in China for its taboo allusions to the Tiananmen Square massacre, Sheng Keyi’s Death Fugue is a lyrical and explosive dystopian satire that imagines a world of manufactured existence, the erasure of personal freedom, and the perils of governmental control.
One morning a nine-story tower of excrement of unknown origin appears in the center of Dayang’s capital, Beiping. The government swiftly scrubs the scene of all evidence and hands down its final word: Do not ask questions; dissent will be punished. But the crowd gathered in Round Square to witness the Tower Incident for themselves only grows and soon explodes in unrest. Poet Mengliu and his girlfriend Qizi join the uprising, but thousands disappear in the brutal crackdown that follows, including Qizi, the newly appointed protest leader. Mengliu abandons poetry and revolution but never gives up hope that Qizi may still be alive.

Years later, on his annual journey in search of Qizi, Mengliu washes ashore in the idyllic country of Swan Valley, a world of dreamlike beauty, perfection, and youth. But the dream becomes a nightmare as he slowly begins to unravel the secrets of Swan Valley, discovering that the perfect society exists at a deep, inhumane cost.

Boldly absurdist yet eerily prescient, award-winning author Sheng Keyi’s Death Fugue barrels out of the void left by generations of state-imposed silence in modern-day China, where it remains banned from publication. It is a rogue artist’s answer to a profound question of our times: What is the role of art after atrocity?

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 Restless Books Prize for New Immigrant Writing, Catharina Coenen’s Unexploded Ordnance is a probing and insightful portrait of how trauma takes shape in the body and persists across generations.

Which parts of my nervous system hold the fear of something that my grandmother, mother, aunt lived through? What came to me in my mother’s genes, her mitochondria, or in the way my grandmother’s hand might clutch my wrist? How do I comb these old afflictions from the tangled knot that is my present tense?

In unflinching, inventive, and deeply moving essays, Catharina Coenen interrogates how we are shaped by the stories and histories we inherit. After she had immigrated from Germany to the United States to pursue her career as a doctor of biology, Coenen began to untangle her experience from that of her grandmother and mother, both of whom lived through the second World War in Germany. With the precision and attentiveness of one performing a dissection, Coenen critically peels back generational silences and historical distortions to shed light on the terrors her family members both experienced and were implicated in. Weaving together reflections on language, science, memory, and her own coming to terms with her queerness after two decades of marriage to a man, Coenen moves fluidly between personal and political insights with stunning honesty and elegance.

Winner of the 2020 European Union Prize for Literature, Lana Bastašić’s powerful debut novel Catch the Rabbit is an emotionally rich excavation of the complicated friendship between two women in a fractured, post-war Bosnia as they venture into the treacherous terrain of the Balkan wonderlands and their own history.

It’s been twelve years since inseparable childhood friends Lejla and Sara have spoken, but an unexpected phone call thrusts Sara back into a world she left behind, a language she’s buried, and painful memories that rise unbidden to the surface. Lejla’s magnetic pull hasn’t lessened despite the distance between Dublin and Bosnia or the years of silence imposed by a youthful misunderstanding, and Sara finds herself returning home, driven by curiosity and guilt. Embarking on a road trip from Bosnia to Vienna in search of Lejla’s exiled brother Armin, the two travel down the rabbit hole of their shared past and question how they’ve arrived at their present, disparate realities.

As their journey takes them further from their homeland, Sara realizes that she can never truly escape her past or Lejla—the two are intrinsically linked, but perpetually on opposite sides of the looking glass. As they approach their final destination, Sara contends with the chaos of their relationship. Lejla’s conflicting memories of their past, further complicated by the divisions brought on by the dissolution of Yugoslavia during their childhoods, forces Sara to reckon with her own perceived reality. Like Elena Ferrante’s My Brilliant Friend, Catch the Rabbit lays bare the intricacies of female friendship and all the ways in which two people can hurt, love, disappoint, and misunderstand one another.

Mapping the fault lines between mother and child (humanity's first and supposedly strongest bond), and with a poet's homeric vision of her native Trinidad, Camille U. Adams weaves the Caribbean island's history of colonial violence with her own family's legacy of abandonment.

For generations, the women of Camille U. Adams' family have left their daughters. Some follow the siren call of rum, the centuries-old vice which alighted on Trinidad's shores from European ships. Others flee the behind-closed-doors beatings of husbands, fathers, and brothers, rushing into any arms that offer refuge. Some simply disappear, their passage marked by unkept promises and open wounds.

As a young girl, Adams finds solace in Trinidad's whispering fever grass, sweet ixora flowers, and the cradling branches of the rose mango tree—all of their roots connecting her to the land's long memory. But where flora gives way to the rank pavement of Covigne Road, gunshots echo and men amass in the doorways of derelict garages, their mouths and hands promising violation. Home offers no safety: just an explosive father, cowed sisters, and a mother whose only reprieve is control. Cloying, suffocating, the maternal embrace threatens to blot out all else. Is it better to be choked, or not to be held at all?

Tormented by her mother's presence and haunted by her absence, Camille U. Adams' dazzling debut is a breathtaking account of survival and self-determination, reimagining the meaning of escape, its cost, and what comes after.

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 Restless Books Prize for New Immigrant Writing, Rajiv Mohabir’s Antiman is an impassioned, genre-blending memoir that navigates the fraught constellations of race, sexuality, and cultural heritage that have shaped his experiences as an Indo-Guyanese queer poet and immigrant to the United States.

Growing up a Guyanese Indian immigrant in Central Florida, Rajiv Mohabir is fascinated by his family’s abandoned Hindu history and the legacy of his ancestors, who were indentured laborers on British sugarcane plantations. In Toronto he sits at the feet of Aji, his grandmother, listening to her stories and songs in her Caribbean Bhojpuri. By now Aji’s eleven children have immigrated to North America and busied themselves with ascension, Christianity, and the erasure of their heritage and Caribbean accents. But Rajiv wants to know more: where did he come from, and why does he feel so out of place?

Embarking on a journey of discovery, he lives for a year in Varanasi, on the banks of the Ganges, perfecting his Hindi and Bhojpuri and tracing the lineage of his Aji’s music. Returning to Florida, the cognitive dissonance of confederate flags, Islamophobia, and his father’s disapproval sends him to New York, where finds community among like-minded brown activists, work as an ESL teacher, and intoxication in the queer nightlife scene. But even in the South Asian paradise of Jackson Heights, Rajiv feels like an outsider: “Coolie” rather than Desi. And then the final hammer of estrangement falls when his cousin outs him as an “antiman”—a Caribbean slur for men who love men—and his father and aunts disown him.

But Aji has taught Rajiv resilience. Emerging from the chrysalis of his ancestral poetics into a new life, he embraces his identity as a poet and reclaims his status as an antiman—forging a new way of being entirely his own. Rapturous, inventive, and devastating in its critique of our own failures of inclusion, Antiman is a hybrid memoir that helps us see ourselves and relationships anew, and announces an exciting new talent in Rajiv Mohabir.

Named one of “the best Russian novels of the 21st Century,” The Underground is the unforgettable story of an abandoned mixed-race boy navigating the wondrous and terrifying city of Moscow before the Soviet Union’s collapse.

“I am Moscow’s underground son, the result of one too many nights on the town.” So begins the story of Mbobo, the precocious 12-year-old narrator of this captivating novel by exiled Uzbek author and BBC journalist Hamid Ismailov. Born to a Siberian woman and an African athlete who came to compete in the 1980 Moscow Olympics, Mbobo must navigate the complexities of being a fatherless, mixed-raced boy in the shaky terrain of the Soviet Union before its collapse.

With echoes of Ralph Ellison’s Invisible Man and Fyodor Dostoevsky’s Notes from Underground, Ismailov’s novel tackles head-on the problems of race and the relationship between the individual and society in a thoroughly modern context. While paying homage to great Russian authors of the past—Dostoevsky, Turgenev, Gorky, Nabokov, and Pushkin—Ismailov emerges as a master of a new kind of Russian writing that revels in the sordid reality and diversity of the country today. Named one of “the best Russian novels of the 21st Century" (Continent Magazine), The Underground is a dizzying and moving tour of the Soviet capital, on the surface and beneath, before its colossal fall.

Restless Classics presents Bram Stoker’s gothic masterpiece of horror, gorgeously illustrated by Kaitlin Chan and with a new introduction and foreword by award-winning authors Silvia Moreno-Garcia and Alexander Chee.

Since its original publication in 1897, Dracula has spoken aloud some of our deepest cultural anxieties: fear of sexuality, xenophobia, homophobia, and distrust of The Other. One of the most recognizable and pervasive characters ever written, Stoker’s Count Dracula is much more terrifying than the caped and fanged representation that has grown so familiar. The Count’s menace lies not solely in his deadly bloodlust, but also in his harrowing ability to hide his malfeasance behind power and privilege.

When Jonathan Harker unearths Count Dracula’s (un)deadly secret, he unwittingly starts a war between good and evil with disastrous repercussions. The innocent Lucy Westenra falls prey to the vampire’s curse, Mina Harker narrowly escapes a vicious transformation, and the indefatigable Abraham Van Helsing risks life and afterlife to defeat his archnemesis. As Silvia Moreno-Garcia explores in her new introduction, this outbreak of an ancient threat in a modern world introduced a radical new element to vampire folklore, one which has only gained significance in the twenty-first century: vampires as disease-bearing victims of the same chaos that they spread.

In his new foreword, Alexander Chee grounds the novel in the potential queerness of Stoker’s literary circle, and delves into our growing fascination with, and affection for, both the horror genre and its monsters. Dracula is both a resonant contemplation of the unknown and a cautionary reminder that evil doesn’t always announce itself with bats and coffins; it lurks within the normal and the mundane, just waiting to be invited in.

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.

In this rich, eye-opening, and uplifting anthology, dozens of esteemed writers, poets, artists, and translators from more than thirty countries send literary dispatches from life during the pandemic. A portion of proceeds benefit booksellers in need.

As our world is transformed by the coronavirus pandemic, writers offer a powerful antidote to the fearful confines of isolation: a window onto lives and corners of the world beyond our own. In Mauritius, a journalist contends with denialism and mourns the last days of summer, lost to the lockdown. In Paris, a writer struggles to protect his young son from fear. In Chile, protesters who prevailed against tear gas and rubber bullets are now halted by a virus. In Queens, after thirteen-hour shifts in the ER, a doctor dons running shoes and makes the long jog home.

And We Came Outside and Saw the Stars Again takes its title from the last line of Dante’s Inferno, when the poet and his guide emerge from hell to once again behold the beauty of the heavens. In that spirit, the stories, essays, poems, and artwork in this collection—from beloved authors including Jhumpa Lahiri, Mario Vargas Llosa, Eavan Boland, Daniel Alarcón, Jon Lee Anderson, Claire Messud, Ariel Dorfman, and many more—detail the harrowing experiences of life in the pandemic, while pointing toward a less isolated future. Together they comprise a profound global portrait of the defining moment of our time, and send a clarion call for solidarity across borders.

Our literary culture depends on bookstores—and those irreplaceable sources of conversation and community, of inspiration and solace, have been decimated by the lockdown. Net proceeds from And We Came Outside and Saw the Stars Again will go to the Book Industry Charitable Foundation, which helps the passionate booksellers we readers depend upon.

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

“Cristina-Sánchez-Andrade is, simply, one of the best writers in Spain. Her language is vastly rich. A memorable narration. A flawless and unusual novel.” —El Correo Gallego

Galicia, Spain’s northwest region, in the 1950s. After a childhood in exile, two sisters return to their grandfather’s cottage for the first time since his shocking murder during the civil war. “The Winterlings” try to keep their dark secrets buried and carve out a peaceful existence in Tierra de Chá, an idyllic village host to a cast of grotesque but charming characters: a powerful psychic, a madman who believes he is a bus, a woman who refuses to die and the obese priest who heaves up a steep hill each day to give her last rites, a cross-dressing dentist who plants the teeth of the deceased in his patients’ mouths.

Tension mounts when the sisters, once united by their passion for Hollywood cinema, compete for the chance to stand in for Ava Gardner in the nearby filming of Pandora and the Flying Dutchman. Meanwhile, a mutual suspicion develops between the mysterious sisters and the eccentric villagers: Why have the women returned, and what are they hiding? What perverse business arrangement did the townspeople make with their grandfather, and why won’t they speak of his death?

Enchanting as a spell, The Winterlings blends Spanish oral tradition, Latin American magic realism, and the American gothic fiction of Flannery O’Connor and Shirley Jackson into an intoxicating story of romance, violent history, and the mysterious forces that move us.

"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.

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.

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.

“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.

A captivating memoir from one of jazz's most beloved practitioners, fourteen-time Grammy winner Paquito D’Rivera’s Letters to Yeyito is a fascinating tour of a life lived in music, and a useful guidebook for aspiring artists everywhere.

Years after receiving a fan letter with no return address, Latin jazz legend Paquito D’Rivera began to write Letters to Yeyito in the hope of reaching its author, a would-be musician. In the course of advising his Cuban compatriot on love, life, and musicianship, D’Rivera recounts his own six-decade-long journey in the arts.

After persevering under Castro’s brand of socialism for years, D’Rivera defected from Cuba and left his beloved Havana for that other great city: New York. From there, the saxophonist, clarinetist, and composer launched a dazzling—and still very active—career that has included fourteen Grammys, world tours, and extensive collaboration with the likes of Dizzy Gillespie, Yo-Yo Ma, and other music legends who make cameos in these pages. Full of humor, entertaining anecdotes, expert advice, and the musician’s characteristic exuberance, D’Rivera’s story is one of life on the move and finding a home in music.

“A Planet for Rent is the English-language debut of Yoss, one of Cuba's most lauded writers of science fiction. Translated by David Frye, these linked stories craft a picture of a dystopian future: Aliens called xenoids have invaded planet Earth, and people are looking to flee the economically and socially bankrupt remains of human civilization. Yoss' smart and entertaining novel tackles themes like prostitution, immigration and political corruption. Ultimately, it serves as an empathetic yet impassioned metaphor for modern-day Cuba, where the struggle for power has complicated every facet of society” —NPR, Best Books of 2015

Out of the modern-day dystopia of Cuba comes an instant classic from the island’s most celebrated science fiction author: a raucous tale of a future in which a failing Earth is at the mercy of powerful capitalist alien colonizers.

In A Planet for Rent, Yoss critiques life under Castro in the ‘90s by drawing parallels with a possible Earth of the not-so-distant future. Wracked by economic and environmental problems, the desperate planet is rescued, for better or worse, by alien colonizers, who remake the planet as a tourist destination. Ruled over by a brutal interstellar bureaucracy, dispossessed humans seek better lives via the few routes available—working for the colonial police; eking out a living as black marketeers, drug dealers, or artists; prostituting themselves to exploitative extraterrestrial visitors—or they face the cold void of space in rickety illegal ships.

This inventive book marks the English-language debut of an astonishingly brave and imaginative Latin American voice.

“There could scarcely be a more opportune moment for the appearance in English of the late Cuban science fiction master Agustín de Rojas’s epic novel The Year 200…. De Rojas’s lucid fictional world intersects with many of our contemporary technological obsessions but charges them with remarkably distinct political valences..... A riveting narrative of espionage and geopolitical turmoil.” —Los Angeles Review of Books

Centuries have passed since the Communist Federation defeated the capitalist Empire, but humanity is still divided. A vast artificial-intelligence network, a psychiatric bureaucracy, and a tiny egalitarian council oversee civil affairs and quash “abnormal” attitudes such as romantic love. Disillusioned civilians renounce the new society and either forego technology to live as “primitives” or enhance their brains with cybernetic implants to become “cybos.” When the Empire returns and takes over the minds of unsuspecting citizens in a scenario that terrifyingly recalls Invasion of the Body Snatchers, the world’s fate falls into the hands of two brave women.

Drawing as much from the realms of the adventure novel, spy thriller, and political satire as from hard science fiction, horror, and fantasy, The Year 200 has been proven prophetic in its consideration of cryogenic freezing, artificial intelligence, and state surveillance, while its advanced weapons and robot assassins exist in an all-too-imaginable future. Originally published in 1990, just after the fall of the Berlin Wall and before the onset of Cuba's devastating Special Period, Agustín de Rojas’s magnum opus brings contemporary trajectories to their logical extremes and boldly asks, “What does ‘the greatest good for the greatest number’ really mean?”

The magnum opus from Alejandro Jodorowsky—director of The Holy Mountain, star of Jodorowsky’s Dune, spiritual guru behind Psychomagic and The Way of Tarot, innovator behind classic comics The Incal and Metabarons, and legend of Latin American literature.

There has never been an artist like the polymathic Chilean director, author, and mystic Alejandro Jodorowsky. For eight decades, he has blazed new trails across a dazzling variety of creative fields. While his psychedelic, visionary films have been celebrated by the likes of John Lennon, Marina Abramovic, and Kanye West, his novels—praised throughout Latin America in the same breath as those of Gabriel García Márquez—have remained largely unknown in the English-speaking world. Until now.

Where the Bird Sings Best tells the fantastic story of the Jodorowskys’ emigration from Ukraine to Chile amidst the political and cultural upheavals of the 19th and 20th centuries. Like One Hundred Years of Solitude, Jodorowsky’s book transforms family history into heroic legend: incestuous beekeepers hide their crime with a living cloak of bees, a czar fakes his own death to live as a hermit amongst the animals, a devout grandfather confides only in the ghost of a wise rabbi, a transgender ballerina with a voracious sexual appetite holds a would-be saint in thrall. Kaleidoscopic, exhilarating, and erotic, Where the Bird Sings Best expands the classic immigration story to mythic proportions.

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.

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.

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.

“Finally, we have the chance to read a landmark work from one of Cuba’s greatest science fiction writers…. If you like intensely psychological sci-fi that deftly piles on the suspense, this novel’s for you…. The boundaries between dream and reality, and then between human and machine, almost melt away as the story progresses. And it is de Rojas’s skillful manipulation of those boundaries that makes A Legend of the Future so addictive.” —SF Signal

The first book by the father of Cuban science fiction to be translated into English, this mesmerizing novel, reminiscent of Arthur C. Clarke’s 2001: A Space Odyssey, is a science-fiction survival story that captures the intense pressures—economic, ideological, and psychological—inside Communist Cuba.

A Legend of the Future takes place inside a spaceship on a groundbreaking mission to Titan, one of Saturn’s moons; back home, a final conflict between warring superpowers threatens the fate of the Earth. When disaster strikes the ship, the crewmembers are forced into a grand experiment in psychological and emotional conditioning, in which they face not just their innermost fears, but the ultimate sacrifice—their very humanity.

“Oddný Eir is an authentic author, philosopher and mystic. She weaves together diaries and fiction. She is the writer I feel can best express the female psyche of now and has bridged the gap between rural Iceland and Western philosophy. A true pioneer!!!!!!!!” —Björk

The winner of the EU Prize for Literature, Land of Love and Ruins introduces a daring new voice in international fiction: Oddný Eir. In the wake of Iceland’s financial crisis, a young author, recently separated and feeling out the uncertain terrain of a new relationship, finds herself questioning the foundations of our love and family lives, our bonds to country and the earth. Stirred by a dream about an old Viking woman on a pilgrimage, she sets out on a quest to the the ruins of the homes of her ancestors, where they tried to live in harmony with nature and each other. Her guiding questions are as essential as their answers are elusive: How do we create a home for love? How can we nourish personal space while sustaining intimacy and desire with a partner? How can we go, not back, but forward to nature?

Drawn both to her archaeologist brother and her ornithologist lover, she explores alternate forms that those relationships might take. Her search brings her all over Iceland and abroad to Paris, Strasbourg, Basel, and the Lake District home of famous Romantic siblings Dorothy and William Wordsworth. Written in the form of a diary that pans from small details to big questions and weaves elements of philosophy, history, archaeology, ecology, eroticism, and literature into a beautifully patterned whole, Oddný Eir invents a new, intimate language between writer and reader in this enchanting book about being human in the modern world.

A brilliant, kaleidoscopic exploration of soccer—and the passion, hopes, rivalries, superstitions, and global solidarity it inspires—from Juan Villoro, “Mexico's top fútbol expert” (NBC News).

On a planet where FIFA has more members than the United Nations and the World Cup is watched by more than three billion people, football is more than just a game. As revered author Juan Villoro argues in this passionate and compulsively readable tribute to the world’s favorite sport, football may be the most effective catalyst for panglobal unity at the time when we need it most. (Following global consensus, Villoro uses “football” rather than “soccer” in the book.)

What was the greatest goal of all time? Why do the Hungarians have a more philosophical sense of defeat than the Mexicans? Do the dead play football? In essays ranging from incisive and irreverent portraits of Maradona, Messi, Ronaldo, Pelé, Zidane, and many more giants of the game to entertaining explorations of left-footedness and the number 10, Juan Villoro dissects the pleasure and pain of football fandom. God Is Round is a book for both fanatics and neophytes who long to feel the delirium of the faithful.

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.”

A kaleidoscopic, fast-paced tour of Latin America from one of the Spanish-speaking world’s most outstanding writers.

Lamenting not having more time to get to know each of the nineteen countries he visits after winning the prestigious Premio Alfaguara, Andrés Neuman begins to suspect that world travel consists mostly of “not seeing.” But then he realizes that the fleeting nature of his trip provides him with a unique opportunity: touring and comparing every country of Latin America in a single stroke. Neuman writes on the move, generating a kinetic work that is at once puckish and poetic, aphoristic and brimming with curiosity. Even so-called non-places—airports, hotels, taxis—are turned into powerful symbols full of meaning. A dual Argentine-Spanish citizen, he incisively explores cultural identity and nationality, immigration and globalization, history and language, and turbulent current events. Above all, Neuman investigates the artistic lifeblood of Latin America, tackling with gusto not only literary heavyweights such as Bolaño, Vargas Llosa, Lorca, and Galeano, but also an emerging generation of authors and filmmakers whose impact is now making ripples worldwide.

Eye-opening and charmingly offbeat, How to Travel without Seeing: Dispatches from the New Latin America is essential reading for anyone interested in the past, present, and future of the Americas.

Is it possible to conceive of the American diet without bagels? Or Star Trek without Mr. Spock? Are the creatures in Maurice Sendak’s Where the Wild Things Are based on Holocaust survivors? And how has Yiddish, a language without a country, influenced Hollywood? These and other questions are explored in this stunning and rich anthology of the interplay of Yiddish and American culture, edited by award-winning authors and scholars Ilan Stavans and Josh Lambert.

It starts with the arrival of Ashkenazi immigrants to New York City’s Lower East Side and follows Yiddish as it moves into Hollywood, Broadway, literature, politics, and resistance. We take deep dives into cuisine, language, popular culture, and even Yiddish in the other Americas, including Canada, Argentina, Cuba, Mexico, and Colombia. The book presents a bountiful menu of genres: essays, memoir, song, letters, poems, recipes, cartoons, conversations, and much more. Authors include Nobel Prize–winner Isaac Bashevis Singer and luminaries such as Grace Paley, Cynthia Ozick, Chaim Grade, Michael Chabon, Abraham Cahan, Sophie Tucker, Blume Lempel, Irving Howe, Art Spiegelman, Alfred Kazin, Harvey Pekar, Ben Katchor, Paula Vogel, and Liana Finck.

Readers will laugh and cry as they delve into personal stories of assimilation and learn about people from a diverse variety of backgrounds, Jewish and not, who have made the language their own. The Yiddish saying states: Der mentsh trakht un got lakht. Man plans and God laughs. How Yiddish Changed America and How America Changed Yiddish illustrates how those plans are full of zest, dignity, and tremendous humanity.

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.

With a new introduction by Francine Prose and stunning original artwork by Eko, the Restless Classics edition of Frankenstein brings Mary Shelley’s paragon of horror vividly back to life—published to coincide with the two-hundredth anniversary of the infamous night of its creation.

A towering masterpiece of gothic fiction, Mary Shelley’s Frankenstein: or, the Modern Prometheus birthed the horror and science-fiction genres and spawned countless cultural offspring. Amid the pervasive images of Boris Karloff’s flat-headed, bolt-necked monster, it’s easy to forget how radical, insightful—and, yes, terrifying—the book is on its own terms.

The would-be Prometheus of the book’s title is the brilliant Swiss scientist Victor Frankenstein, whose studies in natural philosophy and chemistry (fields much brooded over in Shelley’s day) lead him to become obsessed with building a being out of dead body parts and bringing it to life. But when he is miraculously successful, Victor is horrified at his creation, and the monster escapes into the night. Given life and enough reason to deduce his own terrible loneliness, Frankenstein’s creation turns to violence and, soon enough, vengeance upon his creator.

Frankenstein is the second book in the Restless Classics series: interactive encounters with great books and inspired teachers. Find out more at www.restlessbooks.com/classics.

From Fernanda Torres, the celebrated Brazilian actress and bestselling author of The End, comes a riotous tragicomedy of a famed actor’s path from national sex symbol to cult icon to raving madman after a disastrous performance as King Lear.

Mario Cardoso’s meteoric rise to fame begins in the early sixties, when the promise of sex and revolution permeates the Rio air. But as he conquers the stage, arthouse cinema, and primetime TV, the fever and the decadence of stardom take their toll, and middle-aged Mario finds himself with an ebbing reputation, hairline, and bank account. He needs a royal comeback.

Enter King Lear. Mario’s turn as Shakespeare’s mad monarch goes well until he’s overtaken by a fit of laughter that gets more demented with each performance. Forced to cancel the show, he’s confronted with his mother’s unstaged madness—she’s now convinced that Mario is in fact her long-departed husband. Broke and desperate, Mario signs on for an evangelical network production: Sodoma. Yet, as low as he’s fallen, Mario’s final set is one he never imagined.

With the wicked humor and fleet-footed pace that made her novel The End a runaway bestseller in Brazil, Fernanda Torres’s Glory and its Litany of Horrors is a razor-sharp take on the uneasy marriage of Art and the marketplace, and on the profession of acting in all its horror and glory.

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.

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.

Diabolically funny and subversively philosophical, Italian novelist Giacomo Sartori’s I am God is the diary of the Almighty’s existential crisis that ensues when he falls in love with a human.

I am God. Have been forever, will be forever. Forever, mind you, with the razor-sharp glint of a diamond, and without any counterpart in the languages of men. So begins God’s diary of the existential crisis that ensues when, inexplicably, he falls in love with a human. And not just any human, but a geneticist and fanatical atheist who’s certain she can improve upon the magnificent creation she doesn’t even give him the credit for. It’s frustrating, for a god.

God has infinitely bigger things to occupy his celestial attentions. Yet he can’t tear his eyes (so to speak) from the geneticist who’s unsettlingly avid when it comes to science, sex, and Sicilian cannoli. Whatever happens, he must safeguard his transcendental dignity. So he watches—disinterestedly, of course—as the handsome climatologist who has his sights set on her keeps having strange accidents. And as the lanky geneticist becomes hell-bent on infiltrating the Vatican’s secret files, for reasons of her own….

A sly critique of the hypocrisy and hubris that underlie faith in religion, science, and macho careerism, I Am God takes us on a hilarious and provocative romp through the Big Questions with the universe’s supreme storyteller.

The Man Booker International–winning author of Broken April and The Siege, Albania’s most renowned novelist, and perennial Nobel Prize contender Ismail Kadare explores three giants of world literature—Aeschylus, Dante, and Shakespeare—through the lens of resisting totalitarianism.

In isolationist Albania, which suffered under a Communist dictatorship for nearly half a century, classic global literature reached Ismail Kadare across centuries and borders—and set him free. The struggles of Hamlet, Dante, and Aeschylus’s tragic figures gave him an understanding of totalitarianism that shaped his novels. In these incisive critical essays informed by personal experience, Kadare provides powerful evidence that great literature is the enemy of dictatorship and imbues these timeless stories with powerful new meaning.

With eloquent prose and the narrative drive of a great mystery novel, Kadare renews our readings of the classics and lends them a distinctly Albanian tint. Like Mark Twain’s Mississippi River, Márquez’s Macondo, and Faulkner’s Yoknapatawpha County, Kadare’s Albania emerges as a microcosm of civilization; here, blood vengeance in mountain communities reaches the dramatic heights of Hamlet’s dilemma, funereal rites take on the air of Greek tragedy, and political repression gives life the feel of Dante’s nine circles of Hell.

Like Azar Nafisi’s Reading Lolita in Tehran, Essays on World Literature casts reading itself as a daring act of resistance to artistic suppression. Kadare’s insights into the Western canon secure his own place within it.

“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.

“Yoss (Super Extra Grande) is an eminent Cuban SF writer who also fronts a heavy metal band; his iconoclastic spirit and rock-and-roll aesthetic are on full ingenious display in this daring, rollicking, and joyous novel…. This extended dirty joke is also an impressive science fiction novel with much to say about sex, culture, and what it means to be alien.” —Publishers Weekly, Starred Review

In the 24th century, Josué Valdés’ rise from an orphan in the slums of Rubble City, Cuba to one of the galaxy’s most accomplished explorers was nothing short of meteoric. On the streets, Josue raced cockroaches for cash—until he discovered his true-calling: as a sexual ambassador for humanity and the Nu Barsa colony.

Every so-called “condomnaut” knows that diplomacy and trade deals depend on sexual pacts in the galactic community—and every encounter becomes a close encounter. While some condomnauts have been raised and genetically enhanced to meet the needs of any tentacled insectoid in the galaxy, Josué is a natural whose ego could eclipse the big dipper. Our intrepid condomnauts travel light years across the galaxy and discover that old rivalries—and prejudices—are never far behind. When the first extragalactic beings arrive in the Milky Way, and with them the potential to negotiate for extraordinary new technologies, Josué must call upon every ounce of his talent to seal the deal for his colony and all of humanity.

Indirectly investigating current sexual mores, Cuban science fiction rock star Yoss plays upon stereotypes while making it clear that under Communist Cuba what is daring is not always funny and vice versa. Following the success of Super Extra Grande and A Planet for Rent, Yoss brings us another uproarious space adventure with Condomnauts, a wildly inventive and unapologetic tale that would make even Barbarella blush.

In a word-drunk romp through an alternate, pre-apocalyptic United States, Ana Simo’s fiction debut, Heartland, is the uproarious story of a thwarted writer’s elaborate revenge on the woman who stole her lover, blending elements of telenovela, pulp noir, and dystopian satire.

There’s only one solution for a nasty case of writer’s block, and that’s murder. Specifically, that of one Mercy McCabe, a cunning SoHo art dealer who was once our Latina narrator’s rival for the scrumptious Bebe. When she discovers that McCabe has squandered Bebe’s affections after stealing her away, revenge is not enough: she must admit her guilt, sentence herself, and beg for her own execution, Soviet-style.

In the all-too-terrifyingly-familiar America of Heartland, the inconceivable has become ordinary: corruption and greed at the top have led to mass starvation in the heartland; hordes of refugees have escaped from resettlement camps and attack the cities; a puritanical Caliphate has toppled Constantinople, with America in its sights. Meanwhile, escaping her New York life in disguise, our heroine lures McCabe to her home turf: a hilltop house in the Great Plains where her parents worked as domestic servants. Her nemesis, though, is slippery, and McCabe disappears, threatening to ruin a homicidal masterplan so detailed as to be akin to love.

Heartland is a hilarious, genre-defying debut that confronts taboos of race, assimilation, and sex through a high-voltage tale of love, language, and revenge.

Winner of Asymptote Journal’s 2016 Close Approximations Translation Contest and Shortlisted for the Ryszard Kapuscinski Prize, History of a Disappearance is the fascinating true story of a small mining town in the southwest of Poland that, after seven centuries of history, disappeared.

Lying at the crucible of Central Europe, the Silesian village of Kupferberg suffered the violence of the Thirty Years War, the Napoleonic Wars, and World War I. After Stalin’s post-World War II redrawing of Poland’s borders, Kupferberg became Miedzianka, a town settled by displaced people from all over Poland and a new center of the Eastern Bloc’s uranium-mining industry. Decades of neglect and environmental degradation led to the town being declared uninhabitable, and the population was evacuated. Today, it exists only in ruins, with barely a hundred people living on the unstable ground above its collapsing mines.

In this work of unsparing and insightful reportage, renowned journalist, photographer, and architecture critic Filip Springer rediscovers this small town’s fascinating history. Digging beyond the village’s mythic foundations and the great wars and world leaders that shaped it, Springer catalogs the lost human elements: the long-departed tailor and deceased shopkeeper; the parties, now silenced, that used to fill the streets with shouts and laughter; and the once-beautiful cemetery, with gravestones upended by tractors and human bones scattered by dogs. In Miedzianka, Springer sees a microcosm of European history, and a powerful narrative of how the ghosts of the past continue to haunt us in the present.

“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 forces of science, human error, and power run amok all collide in a wildly inventive, funny, and razor-sharp political satire about Putin’s Russia, from one of the country’s most fearless journalists.

When a scientist experimenting on humans in a sanatorium near Moscow gives a growth serum to a dwarf oil mogul, the newly heightened businessman runs off with the experimenter’s wife, and a series of mysterious deaths and crimes commences. Fantastical and wonderfully strange, this political parable has an uncanny resonance with today’s Russia under Putin.

Oleg Kashin is a famous Russian journalist and activist who, in 2010, was beaten to within an inch of his life by unknown assailants, in an attack most likely politically motivated by his reporting. The events of Fardwor, Russia! (the title is taken from a flag with a slogan—“Forward, Russia!”—gone wrong) could seem grotesque, if they did not so eerily echo the absurd state of affairs in modern Russia. Under Putin’s regime, authors dare to criticize the state of affairs and affairs of the state only through veiled satire—and even then, as Kashin’s experience shows, the threat of repercussions is real.

A witty, playful, brave, and incisive work that blends science fiction with political satire, Fardwor, Russia! is a must-read for anyone interested in contemporary Russia—or the hilarious and frightening follies of power.

“Beware, reader, in these pages you will experience vertigo, anxiety and joy. You will become a ghostly presence in a Borgesian world, a camera obscura, where mathematics is a secret weapon, and memory the object of an archaeological pursuit. Loosely inspired by the eventful life of the French mathematician Alexander Grothendieck, Fonseca has created a gorgeous opera prima.” —Valerie Miles, The New York Times Book Review

Holed away in a cabin in the Pyrenees, the world-famous and enigmatic mathematician Alexander Grothendieck is working furiously on a final project. But what exactly is this monumental, mysterious undertaking? Why did this man, one of the greatest geniuses of the century, a politically militant man himself, suddenly decide to abandon politics and society altogether? As the reader pursues the answer to these questions, two layered narratives emerge. One is a series of unforgettable characters that have transfixed the mathematician’s imagination: Chana Abramov, a woman obsessed with painting the same Mexican volcano a thousand times, Vladimir Vostokov, an anarchist in battle with technological modernity, and Maximiliano Cienfuegos, a simple man who will nonetheless become the symbol for the Colonel’s as well as Europe’s restless political conscience. The other is the protagonist’s life story: a picaresque journey that traverses the 20th century: from the Russia of the October Revolution to the Mexico of the anarchic 1920s, from the Spanish Civil War to Vietnam, all the way back to France and from there to the Caribbean islands. Out of this Borgesian web emerges a tragicomic allegory for the political arch of the past century, one that began addicted to political action and ended up hooked on big data.

Loosely based on the fascinating life story of the eccentric mathematician Alexander Grothendieck, Colonel Lágrimas is a world-spanning tour de force of history, politics, literature, mathematics, and philosophy that wears its learning lightly, forming an appealingly human story of the forces that have created the modern world.

The Restless Classics edition of Chekhov: Stories for Our Time presents a must-have collection by the great Russian author who captured humanity in all its complexity, and reintroduces Chekhov as a funny, playful, deeply human, and thoroughly modern writer.

The great 19th-century Russian author and playwright Anton Chekhov wrote nearly one thousand stories, a body of work that is unmatched in its alchemy of sensitivity, wisdom, precision, verve, soulfulness, and economy. Chekhov’s sensibility was radically human and thoroughly modern: write not how you think things should be, but rather as they are. Universally recognized as one of the greatest short story writers of all time, he revolutionized the form and had a profound influence on his successors from Flannery O’Connor to Alice Munro.

As the celebrated Russian-immigrant author Boris Fishman writes in his bold, incisive, and delightfully counterintuitive introduction to this Restless Classics collection, Chekhov is funny, optimistic, ceaselessly curious, and undogmatic—a significant break from the bleak and morally rigid tradition of his contemporaries Dostoevsky and Tolstoy. Unlike those peers born to privilege, Chekhov was raised in the peasantry and worked as a doctor. In his writing, he portrays the complexity of human beings as changeable and contingent, neither saints nor sinners—an approach intimately linked with his work as a clinician and humanitarian.

Chekhov’s humanity, just as much as his mastery of the writing craft, is potent medicine in times that seem so divided by ideology and antipathy for groups seen as “other.” The first new selection of his work in over a decade, the Restless Classics edition of Chekhov: Stories for Our Time pairs beloved favorites with lesser known gems, all stunningly illustrated by Matt McCann: a perfect introduction for novices and a must-have for Chekhov devotees.

Newly introduced by leading Quixote scholar Ilan Stavans, this 400th Anniversary edition of Don Quixote of La Mancha—called the most popular book in history after the Bible and the first modern novel—inaugurates Restless Classics: interactive encounters with great books and inspired teachers. Each Restless Classic is beautifully designed with original artwork, a new introduction for the trade audience, and a video teaching series and live online book club discussions led by passionate experts.

Described as “the novel that invented modernity,” Miguel de Cervantes’s Don Quixote of La Mancha has become since its publication in Spain in two parts—the first in 1605, the second in 1615—a machine of meaning, endlessly adapted into ballet, theater, dance, film, music, and television, not to mention a veritable tourist industry.
Lionel Trilling argued that “all prose fiction is a variation on the theme of Don Quixote.” Mark Twain was a passionate fan. Flaubert modeled Madame Bovary after it. Dostoyevsky reimagined its protagonist in The Idiot. And Borges, in his story about Pierre Menard, looked at it as the gravitational center of Hispanic civilization. Milan Kundera fittingly summarized this unstoppable devotion when he said that “Cervantes teaches the reader to comprehend the world as a question.”
Of course, Don Quixote has its detractors, too. Nabokov, for instance, maintained it was one of the cruelest narratives ever. Still, after 400 years, the book remains with us, winding improbably through history like the famous errant knight and his companion, Sancho Panza.
The commemorative Restless Classics edition, published on the four-hundredth anniversary of its full release, features John Ormsby’s canonical English translation, illustrations by award-winning Mexican artist Eko, and an insightful, thought-provoking introduction by Ilan Stavans, one of the foremost public intellectuals today. Don Quixote, Stavans writes, is “not only a novel but a manual of life. You’ll find in it anything you need, from lessons on how to speak and eat and love to an exhortation of a disciplined, focused life, an argument against censorship, and a call to make lasting friends, which, in Cervantes’s words, is ‘what makes bearable our long journey from birth to death’.”
The volume includes access to an interactive series of video lectures by Stavans, available online at restlessbooks.com/quixote. The videos serve as map to this restless classic, which speaks more eloquently than ever to our perennial desire to sacrifice for a dream in order to see its true worth.

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.

“Captivity is a complex and fast-paced tale of Jewish life in the early first century, a sort of sword-and-sandals saga as reimagined by Henry Roth. The narrative follows Uri from Rome to Jerusalem and back, from prospectless dreamer to political operative to pogrom survivor—who along the way also happens to dine with Herod Antipas and Pontius Pilate and get thrown into a cell with a certain Galilean rabble-rouser. Hungarian György Spiró’s deft combination of philosophical inquiry and page-turning brio should overcome that oft-mentioned American timidity toward books in translation.” —The Wall Street Journal, Best Books of 2015

A literary sensation, György Spiró’s Captivity is both a highly sophisticated historical novel and a gripping page-turner. Set in the tumultuous first century A.D., between the year of Christ’s death and the outbreak of the Jewish War, Captivity recounts the adventures of the feeble-bodied, bookish Uri, a young Roman Jew.

Frustrated with his hapless son, Uri’s father sends the young man to the Holy Land to regain the family’s prestige. In Jerusalem, Uri is imprisoned by Herod and meets two thieves and (perhaps) Jesus before their crucifixion. Later, in cosmopolitan Alexandria, he undergoes a scholarly and sexual awakening—but must also escape a pogrom. Returning to Rome at last, he finds an entirely unexpected inheritance.

Equal parts Homeric epic, brilliantly researched Jewish history, and picaresque adventure, Captivity is a dramatic tale of family, fate, and fortitude. In its weak-yet-valiant hero, fans will be reminded of Robert Graves’ classics of Ancient Rome, I, Claudius and Claudius the God.

"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.

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.

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.

“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.

From the award-winning Serbian author David Albahari comes a devastating and Kafkaesque war fable about an army unit sent to guard a military checkpoint with no idea where they are or who the enemy might be.

Atop a hill, deep in the forest, an army unit is assigned to a checkpoint. The commander doesn’t know where they are, what border they’re protecting, or why. Their map is useless and the radio crackles with a language no one can recognize. A soldier is found dead in a latrine and the unit vows vengeance—but the enemy is unknown. Refugees arrive seeking safe passage to the other side of the checkpoint, however the biggest threat might be the soldiers themselves. As the commander struggles to maintain order and keep his soldiers alive, he isn’t sure whether he’s fighting a war or caught in a bizarre military experiment.

Equal parts Waiting for Godot and Catch-22, Checkpoint is a haunting and hysterical confrontation with the absurdity of war.

“In essays that bespeak a thoroughly cosmopolitan sensibility, Githa Hariharan not only takes us on illuminating tours through cities rich in history, but gives a voice to urban people from all over the world—Kashmir, Palestine, Delhi—trying to live with basic human dignity under circumstances of dire repression or crushing poverty.” —JM Coetzee

What does a medieval city in South India have in common with Washington, D.C.? How do people in Kashmir envision the freedom they long for? To whom does Delhi, city of grand monuments and hidden slums, actually belong? And what makes a city, or any place, home? In ten intricately wrought essays, renowned author Githa Hariharan takes readers on an eye-opening journey across time and place, exploring the history, landscape, and people that have shaped the world’s most fascinating and fraught cities.

Inspired by Italo Calvino’s playful and powerful writing about journeys and cities, Harihan combines memory, cultural criticism, and history to sculpt fascinating, layered stories about the places around the world—from Delhi, Mumbai, and Kashmir to Palestine, Algeria, and eleventh-century Córdoba, from Tokyo to New York and Washington. In narrating the lives of these places’ vanquished and marginalized, she plumbs the depths of colonization and nation-building, poverty and war, the struggle for human rights, and the day-to-day business of survival. Almost Home: Finding a Place in the World from Kashmir to New York presents a new kind of travel writing that is intellectually adventurous but never detached, couched in personal experience but deeply engaged in the world, inviting the reader to make surprising connections with her own sense of home.

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

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.

“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?

“Deeply psychological and mysterious, the book will stimulate the imagination of the reader's mind to the extreme.” —Marina Abramovic

“In his latest novel, Jodorowsky builds on his multi-decade long assault of the public imagination…. a fantastical and genre-defying parable of love and friendship…. At its core, Albina and the Dog-Men is a love story about two people committed to one another's survival and to discovering their potential. And, as with life, it is sometimes only through the weathering of a storm that our true capacities are made clear.” —NPR Books

When two women—an amnesiac goddess and her protector, a leather-tough woman called Crabby—arrive in a Chilean desert town, Albina’s otherworldly allure and unfettered sensuality turn men into wild beasts. Chased by a clubfooted corrupt cop, evil corporate overlords, giant-hare-riding narcos, and Himalayan cultists, Albina and Crabby must find a magical cactus that will cure Albina and the men’s monstrous affliction before the town consumes itself in an orgy of lust and violence.

Albina and the Dog-Men is Alejandro Jodorowsky’s darkly funny, shocking, and surreal hybrid of mystical folktale, road novel, horror story, and social parable, ultimately uniting in a universal story of love against the odds and what makes us human.

Finalist for the 2022 Philip K. Dick Award

With the wicked humor and imagination that made readers fall in love with his novel I Am God, Giacomo Sartori brings us a madcap story of family dysfunction, (dis)ability, intelligent robots, bees, and a family of misfit savants living outside the bounds.

In the singular world of the young, deaf narrator of Bug, there are just a handful of people who try to understand him when he gets into trouble at school. His father, a data analyst for Nutella whose real job is to pinpoint terrorists, is clueless about humans in real life. His brilliant brother, called IQ in public and Robin Hood in the hackersphere, has his back but is ever busier training his robot. His grandfather, a retired anarchist-guerilla-turned-nematologist, chides him for misbehaving when he takes him hunting for worms. Meanwhile, his Buddhist beekeeper mother, ordinarily his closest confidante, has been in a coma ever since a terrible car accident.

Just when the family’s survival in their converted chicken coop seems most precarious, someone—or something—new enters his life: Bug. This self-declared "fast friend" seems to know all about his family and has some creative, if not strictly legal, ideas about how to help....

Emilio Renzi, literary alter ego of legendary Argentine author Ricardo Piglia, returns in The Way Out, an academic thriller that relentlessly questions the lengths we go to hide our own truths and to uncover the secrets of others.

In the mid 1990s Emilio Renzi leaves behind his unstable life in Argentina to take a visiting position at a prestigious university in New Jersey. Settling in for a semester of academic quietude and wintry isolation, he is surprised to be swept up in a secret romance with his colleague, the brilliant and enigmatic Ida Brown. But their clandestine relationship comes to an abrupt end when Ida is discovered in her car, killed in what appears to be a tragic accident. Discontented with the police’s lackluster inquiries, and troubled by the inexplicable burn found on her hand, Renzi begins his own investigation.

Renzi's suspicions are piqued as details emerge about a bizarre string of attacks, apparently targeting scientists and researchers. But after a radical manifesto appears in the press threatening continued violence, the killer's identity is suddenly revealed. As he delves deeper into Ida Brown’s past, Renzi discovers a link between her and the terrorist that sets him on a path of no return: he must discover once and for all whether her death was part of a larger pattern and, if so, whether she was a victim or accomplice. Renzi’s quest for truth reveals not only the secrets of his former lover, but also reveals a darker side of humanity that will force him to confront the systems and culture that could produce such a misguided killer.

A bracing critique of American culture and an exploration of privacy and politics in an era of rapid technological advancement, Piglia’s signature blend of autobiography and fiction is in full effect in this intriguing twist on the detective novel.

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.

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.

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.

The first novel from Madagascar ever to be translated into English, Naivo’s magisterial Beyond the Rice Fields delves into the upheavals of the nation’s past as it confronted Christianity and modernity, through the twin narratives of a slave and his master’s daughter.

Fara and her father’s slave, Tsito, have been close since her father bought the boy after his forest village was destroyed. Now in Sahasoa, amongst the cattle and rice fields, everything is new for Tsito, and Fara at last has a companion. But as Tsito looks forward to the bright promise of freedom and Fara, backward to a dark, long-denied family history, a rift opens between them just as British Christian missionaries and French industrialists arrive and violence erupts across the country. Love and innocence fall away, and Tsito and Fara’s world becomes enveloped by tyranny, superstition, and fear.

With captivating lyricism, propulsive urgency, and two unforgettable characters at the story’s core, Naivo unflinchingly delves into the brutal history of nineteenth-century Madagascar. Beyond the Rice Fields is a tour de force that has much to teach us about human bondage and the stories we tell to face—and hide from—ourselves, each other, our pasts, and our destinies.