A SCHOLARLY BOOK REPOSITORY193 start with L start with L
La Medusa is a polyphonic novel of post-conceptual consciousness. At the heart of the whole floats Medusa, an androgynous central awareness that anchors the novel throughout. La Medusa is at once the city of Los Angeles, with its snaking freeways and serpentine shifts between reality and illusion, and a brain—a modern mind that is both expansive and penetrating in its obsessions and perceptions.
Vanessa Place’s characters—a trucker and his wife, a nine-year-old saxophonist, an ice cream vendor, a sex worker, and a corpse, among others—are borderless selves in a borderless city, a city impossible to contain. Her expert ventriloquism and explosive imagination anchor this epic narrative in language that is fierce and vibrant, a penetrating a cross-section of contemporary Los Angeles and a cross-section of the modern mind.
"One of the most satisfyingly devious of the Judge Dee novels, with unusual historical richness in its portrayal of the China of the T'ang dynasty."-—New York Times Book Review
"Even Judge Dee is baffled by Robert van Gulik's new mysteries in The Lacquer Screen. Disguised as a petty crook, he spends a couple of precarious days in the headquarters of the underworld, hobnobbing with the robber king. Dee's lively thieving friends furnish some vital clues to this strange and fascinating jigsaw."-—The Spectator
"So scrupulously in the classic Chinese manner yet so nicely equipped with everything to satisfy the modern reader."-—New York Times
Robert Van Gulik (1910-67) was a Dutch diplomat and an authority on Chinese history and culture. He drew his plots from the whole body of Chinese literature, especially from the popular detective novels that first appeared in the seventeenth century.
Anaïs Nin’s Ladders to Fire interweaves the stories of several women, each emotionally inhibited in her own way: through self-doubt, fear, guilt, moral drift, and distrust. The novel follows their inner struggles to overcome these barriers to happiness and wholeness. The author’s own experiences, as recorded in her famous diaries, supplied the raw material for her fiction. It was her intuitive, experimental, and always original style that transformed one into the other. Nin herself memorably claimed that “it was the fiction writer who edited the diary.”
Ladders to Fire is the first book of Nin’s continuous novel, Cities of the Interior, which also includes Children of the Albatross,The Four-Chambered Heart,A Spy in the House of Love, and Seduction of the Minotaur. These loosely interlinked stories develop the characters and themes established in the first volume, leading slowly toward a resolution of inner turmoil and conflict.
This Swallow Press reissue of Ladders to Fire includes a new introduction by Nin scholar Benjamin Franklin V, as well as Gunther Stuhlmann’s classic foreword to the 1995 edition.
After struggling with her own press and printing her own works, Anaïs Nin succeeded in getting Ladders to Fire accepted and published in 1946. This recognition marked a milestone in her life and career. Admitted into the fellowship of American novelists, she maintained the individuality of her literary style. She resisted realistic writing and drew on the experience and intuitions of her diary to forge a novelistic style emphasizing free association, the language of emotion, spontaneity, and improvisation.
Ladders to Fire is the first volume of Nin’s celebrated series of novels called Cities of the Interior
For Anaïs Nin, her writing and her life were not separable, they were both part of the same experience. She claimed that “is it the fiction writer who edited the diary.”
Anaïs Nin continues to find an audience, whether for her fiction, her diaries, or her own life story, which has enjoyed the attention of biographers and filmmakers. This 1995 reissue of Ladders to Fire has a new cover and foreword.
"Ladies and Gentlemen, the Original Music of the Hebrew Alphabet" is set in Budapest during the Communist era. The story focuses on the tenuous seesaw between Dr. Isaac Gantz, a musicologist, and engineer Ferdinand Friedman, a Holocaust survivor who believes that he possesses one of the greatest manuscripts of the ages, a Rosetta Stone of Judaica. Friedman is willing to share it—but there is a "but." In pursuing this prize, Gantz enters a world of strange human relationships filled with doubts and surprises. A vibrant cast of characters adds dimension to this gripping story in which Jewish folklore, music, and history coalesce.
"Weekend in Mustara" unfolds on the fictional island of Mustara in southern Europe, a mountainous, totalitarian country that tolerates Judaism. Its few Jews cling to their heritage, embodied in their beautiful but sparsely attended synagogue and their museum, where a great memorial book is inscribed with the names of all Mustara Jews martyred during World War II. A scholar of medieval Hebrew manuscripts comes to the island, searching for traces of Yehuda Halevi, the great Hebrew poet of the Spanish Golden Age. He is soon enmeshed among elusive personalities and tangled loyalties, but only when he finds himself displaced in time—in a kind of theater of the absurd—are the purposes of his journey finally realized.
“Most of the time, it is the power of men that we remember.” With these words, which open Léonora Miano’s text for Objects Talk Back, an astonishing new narrative unfurls around Mandu Yenu, a throne from the ancient Kingdom of Bamum (present day Cameroon).
The Germans long claimed the object was a gift from King Njoya to Kaiser Wilhelm II. Miano reads “between the lines of beads and cowrie shells” to show the complex intricacies of colonial and gender relations. Dismissing all pretense of egalitarianism between colonizer and colonized, she hones in on the very nature of power—how and by whom it is defined-wielded-subverted.
King Njoya said he “felt like a woman in his relationship with the Germans.” Miano takes this as a prompt to examine contrasting cultural notions of femininity and thus reveals how central women are to the story of the throne. As the very name of the object suggests, it is the power of women we should remember.
Lady in Ermine: The Story of a Woman Who Painted the Renaissance reveals the discovery of an historic figure who embodies the struggle of women throughout the ages while immersing the reader in the sixteenth century world of the Renaissance figures she paints.
As a girl in Lombardy, Sofonisba Anguissola trains to paint with mannerist masters, and though society frowns upon women having such ambition, Sofonisba’s father unwaveringly encourages her. A royal tour by Prince Philip of Spain inspires her lifelong dream: to perfect the king’s portrait and show his truth on canvas, the highest calling for a Renaissance portraitist. Her drive to vindicate her loving father, a bastard of nobility, propels her. Politics of the Spanish empire brings Sofonisba to the heart of the royal court in Madrid. She aspires to achieve her goal while others at court work to undermine her as a female artist. Tragedy unfolds in the royal household, but in the process, Sofonisba finds her opportunity to paint the King of Spain, honoring her family name with her success. In life after court, Sofonisba navigates two marriages, royal appointments, love, hardship, and bankruptcy, while leaving a legacy of hundreds of paintings and influencing generations of artists from Anthony van Dyck to Peter Paul Rubens. This is her story.
The linked stories of Lake Song, set in the fictional town of Kinder Falls in New York’s Finger Lakes region, span decades to plumb the complexities, violence, and compassion of small-town life as the twentieth century hurtles forward. Against a backdrop of historical events—bootlegging, Klan attacks, gold smuggling, the Albany Ketchup Murders, the 1965 Northeast blackout—a generations-long mystery unwinds. In 1906 Mavis Staunch drowns in Okisee Lake days after she refuses to sell her land to a trio of brothers. The same night, one of the brothers, Angus Epps, doesn’t come home. Few suspect the two events are connected, and no one imagines the role that a ten-year-old boy, a canoe, and a pack of coyotes play in the tragedies. Spiritualists, grifters, sugar makers, arsonists, seekers, and saleswomen wind through each other’s lives and across decades to add layers of resonance to each captivating story. The mercurial lake that unites the people of Kinder Falls sustains as much as it haunts, both witness and diary.
The Flying Lama: Tales Around the Hearth invites readers into the enchanting world of a small Himalayan village in Arunachal Pradesh, where the past lingers in every rustling leaf and the supernatural feels as close as the wind against one’s skin. Drawing from his Shertukpen heritage, Sange Dorjee Thongdok crafts a collection of stories brimming with mysticism and an unshakable connection to the rhythms of nature. A lama who seems to defy gravity, a village where tradition and modernity stand in quiet conversation—each tale is steeped in folklore and rendered with cinematic detail, divulging a world that is both remote and deeply familiar. Blending wry humor with profound emotion, Thongdok’s storytelling captures the essence of a place often overlooked, yet teeming with life.
Charlie Gest, the wide-eyed and well-intentioned protagonist of the novel, confronts firsthand the project's sometimes underhanded efforts to monitor the political views of its writers. Named assistant director of the project in Monroe (a fictional St. Louis), Gest is vaguely aware that the program's good intentions do not always overshadow the abuses it tolerates, which include shielding corporate interests and avoiding hiring highly qualified black writers. Gest is hounded by a nagging suspicion that, like lamps that burn in broad daylight, the issues at stake in the work stoppage are not the ones that most need addressing.
Part radical socialist commentary, part absurdist theater, Balch's novel offers a peerless critical engagement of the economic constraints and political exigencies surrounding debates over the federal funding of art since the New Deal.
Cairo 1925, Haret al-Yahud, the old Jewish Quarter. Esther, a beautiful young woman believed to be possessed by demons, longs to give birth after seven blissful years of marriage. Her husband, blind since childhood, does not object when, in her effort to conceive, she participates in Muslim zar rituals. Zohar, the novel’s narrator, comes into the world, but because his mother’s breasts are dry, he is nursed by a Muslim peasant—also believed to be possessed—who has just given birth to a girl, Masreya. Suckled at the same breasts and united by a rabbi’s amulet, the milk-twins will be consumed by a passionate, earth-shaking love.
Part fantastical fable, part realistic history, A Land Like You draws on ethno-psychiatrist Tobie Nathan’s deep knowledge of North African folk beliefs to create a glittering tapestry in which spirit possession and religious mysticism exist side by side with sober facts about the British occupation of Egypt and the rise of the Muslim Brotherhood and the Free Officers’ Movement. Historical figures such as Gamel Abdel Nasser, Anwar Sadat, and King Farouk mingle with Nathan’s fictional characters in this engaging story.
In Jeffrey Lewis’s novel, the Land of Cockaigne, once an old medieval peasants’ vision of a sensual paradise on earth, is reimagined as a plot on the coast of Maine. In efforts to assuage their grief over their son’s death and to make meaning of his life, Walter Rath and Catherine Gray build what they hope will be a version of paradise for a group of young men from the Bronx. As Walter and Catherine work to reinvent this land, formerly a summer resort, the surrounding town of Sneeds Harbor proves resistant. The residents’ well-meaning doubts lead to well-hidden threats, and the Raths’ marriage unravels as Walter loses faith in democracy. Meanwhile, the Bronx boys, who have only ever known the city, try to navigate this new land that is completely alien to them. Written as a parable of contemporary American society, Land of Cockaigne is by turns furious, funny, subversive, tragic, and horrifying. Faced with the question of what to do amid disastrous times, Walter Rath offers a clue: Love is an action, not a feeling. Once you go down this path of faith, there is much to be done.
Throughout, Klekh studies landscapes as intimate as the terrain between fathers and sons and as broad as the wild, mysterious Carpathian Mountains. His work has been compared to that of Borges, Eco, and the magical realists, and celebrated for its synthesis of numerous literary traditions, its use of esoteric knowledge, and its breathtaking prose.
As visceral horrors and everyday banalities of the war threaten to engulf Paul, he, like his great-great-grandfather, finds his very own refuge in Afghanistan’s natural world. In a diary filled with exquisite drawings of birds and ruminations on the life he left behind, Paul describes his experiences living with two comrades who are fighting their own demons and his befriending of an Afghan man, Nassim, as well as his dreams of escaping the restrictive base camp and visiting the shores of a lake visible from the lookout tower. But when he finally reaches the lake one night, he finds himself in the midst of a chain of events that, with his increasingly fragile state of mind, has dramatic—and ultimately heartbreaking—consequences.
A meditative novel that shows a new side to the conflict in Afghanistan, The Language of Birds takes a moving look at the all-too-human costs of war and questions what it truly means to fight for freedom.
This short story collection offers readers many possible answers that reveal the Deaf experience in all its complexities. Written over nearly forty years by celebrated Deaf author Raymond Luczak, this collection of thirty stories paints a vivid panorama of Deaf lives. From a young DeafBlind boy feeling lost within his hearing family to a hearing son of Deaf parents caught between their infighting and a hearing mother realizing in the split second of her own death the full impact of the missteps she has taken while raising her Deaf son, Luczak crafts narratives that resonate with authenticity. Other stories feature an ASL interpreter feeling conflicted about a Deaf neighbor and a Deaf woman who becomes blacklisted as a backstabber. These characters often navigate the murky waters of the hearing world, sometimes with a touch of ASL gloss. The Language of Home is an exciting literary contribution that offers rare, nuanced representations of Deaf characters.
What a difference a day makes. Inside of twenty-four hours, a cop rumored to have received bribes from Montez takes a header off a mountain, Jimmy Esch is found butchered, and the cops consider the attorney their top suspect. Lisa—Montez's alibi—has conveniently disappeared. As if all that wasn't enough, Montez must also cope with the news his father is in the hospital.
Distracted by family strife and a media circus, Montez broods on the latest wrong turns in his life. Then he decides to act. Jumping bail, he heads across the Rockies to the barrios of San Diego. It's not easy to unravel the perfect set-up when you're down to your last cent. But Montez pursues the truths that will clear his name, and ultimately confronts the powerful force that is Family.
“Ruven Preuk stands apart from the village, on an August day in 1911, and listens.” Thus begins an epic bildungsroman about the life of Ruven Preuk, son of the wainwright, child of a sleepy village in Germany’s north, where life is both simple and harsh.
Ruven, though, is neither. He has the ability to see sounds, leading him to discover an uncanny gift for the violin. When he meets a talented teacher in the Jewish quarter, Ruven falls under the spell of a prodigious future. But as the twentieth century looms, Ruven’s pursuit of his craft takes a turn. In The Last Country, Svenja Leiber spins a tale that moves from the mansions of a disappearing aristocracy to a communist rebellion, from a joyous village wedding to a Nazi official’s threats, from the First World War to the Second. As the world Ruven knows disappears, the gifted musician must grapple with an important question: to what end has he devoted himself to his art?
Winner of the 2015 Arno Reinfrank Literaturpreis
2021 — Honorable Mention, Best Fiction Book Translation – International Latino Book Awards, Latino Literacy Now
Winner of the Tusquets Prize in 2015 and previously translated into French, German, Dutch, Polish, and Portuguese, Alberto Barrera Tyszka’s Patria o muerte is now available in English.
President Hugo Chávez’s cancer looms large over Venezuela in 2012, casting a shadow of uncertainty and creating an atmosphere of secrets, lies, and upheaval across the country. This literary thriller follows the connected lives of several Caracas neighbors consumed by the turmoil surrounding the Venezuelan president’s impending death.
Retired oncologist Miguel Sanabria, seeing the increasingly combustible world around him, feels on constant edge. He finds himself at odds with his wife, an extreme anti-Chavista, and his radical Chavista brother. These feelings grow when his nephew asks him to undertake the perilous task of hiding cell-phone footage of Chávez in Cuba. Fredy Lecuna, an unemployed journalist, takes a job writing a book about Chávez’s condition, which requires him to leave for Cuba while his landlord attempts to kick his wife and son out of their apartment. Nine-year-old María, long confined to an apartment with a neurotic mother intensely fearful of the city’s violence, finds her only contact with the outside world through a boy she messages online.
With her sensitive prose and innate sense of drama, French-Lebanese writer Vénus Khoury-Ghata brings Mandelstam back to life and allows him to have the last word—proving that literature is one of the surest means to fight against barbarism.
Koppes, who came of age in the sixties, is an editor slowly running off the rails. In the six episodes of The Last Days of Publishing, he refights the Vietnam War in a Chinese restaurant, discovers that the paleontological is political in a natural history museum, mixes it up with a flamboyant literary agent who went underground decades earlier, and encounters a hippie cultural oligarch on the forty-fifth floor of Multimedia's transnational entertainment headquarters.
Tom Engelhardt, himself a publishing veteran, has produced a tumultuous vision of the new world in which the word finds itself hustling for a living. By turns hilarious, sardonic, and poignant, his novel deftly captures the ways in which publishing, which has long put our world between covers but has seldom been memorialized in fiction, is being transformed.
A refreshingly honest, lovingly crafted work, The Last Happy Occasion is a treasure map for anyone interested in exploring the intersections of life and art.
"The Last Happy Occasion is touching and intelligent, emotionally satisfying and eloquent testimony to the power of poetry to instruct, heal and inspire."—Emily Barton, New York Times Book Review
"Shapiro, not unlike Auden, doses his wordplay with a certain sly irony. . . . We come away from Shapiro's book with an intimate appreciation of the little subversions that poetry can work in one's life."—Jonathan Kirsch, Los Angeles Times
"He is an acute observer of moments, people, art and language. And he packs even seemingly simple stories with many layers of meaning. . . . He shows us the power and importance of transformative art in life."—Publishers Weekly, starred review
"The literary criticism is sharp, but what enthralls the reader more is Shapiro's humorous but honest perspective on his younger self, a perspective that is critical without being condescending."—Heller McAlpin, Newsday
Not quite a roman á clef of notorious Boston mayor James Michael Curley, The Last Hurrah tells the story of Skeffington’s final campaign as witnessed through the eyes of his nephew, who learns a great deal about politics as he follows his uncle to fundraisers, wakes, and into smoke-filled rooms, ultimately coming—almost against his will—to admire the man. Adapted into a 1958 film starring Spencer Tracy and directed by John Ford (and which Curley tried to keep from being made), Edwin O’Connor’s opus reveals politics as it really is, and big cities as they really were. An expansive, humorous novel offering deep insight into the Irish-American experience and the ever-changing nature of the political machine, The Last Hurrah reveals political truths still true today: what the cameras capture is just the smiling face of the sometimes sordid business of giving the people what they want.
Joué pour la première fois le lendemain de l’exécution de Marie-Antoinette, Le Jugement dernier des rois met en scène le procès burlesque des autres rois et reines d’Europe : exhibés et enchaînés tels des animaux, contraints de se battre pour un tonneau de biscuits, et finalement anéantis par l’éruption spectaculaire d’un volcan. Tel est le contexte scandaleux—tragédie et farce à la fois—de la pièce la plus célèbre de la Révolution française, bien connue de tous les spécialistes de cette période. Jusqu’à maintenant, pourtant, il n’existait ni édition critique ni traduction anglaise de cet ouvrage historique. Notre édition bilingue fait revivre la pièce de Maréchal et la replace au centre des plus grands débats chez les historiens de la Révolution, traitant de justice, religion, commémoration, comédie, et propagande. Provocateur, facile à lire, et concis—parfaitement adapté aux étudiants d’un cours de français ou d’histoire—Le Jugement dernier des rois propose ainsi une introduction idéale à la période révolutionnaire et à ses principales controverses.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Roley’s work has been praised by everyone from New York Times literary critics to APIA author Helen Zia for his bare, poetic style and raw emotionalism. In the collection’s title story, a woman living with her daughter and her daughter’s American husband fears the loss of Filipino tradition, especially Catholicism, as she tries to secretly permeate her granddaughter’s existence with elements of her ancestry. In "New Relations," an American-born son introduces his mother to his Caucasian bride and her family, only to experience his first marital discord around issues of politesse, the perception of culture, and post-colonial legacies. Roley’s delicately nuanced collection often leaves the audience with the awkwardness that comes from things lost in translation or entangled in generational divides.
This gonzo-style metamemoir follows Chuck Kinder on a wild tour of the back roads of his home state of West Virginia, where he encounters Mountain State legends like Sid Hatfield, Dagmar, Robert C. Byrd, the Mothman, Chuck Yeager, Soupy Sales, Don Knotts, and Jesco White, the “Dancing Outlaw.”
“Nan turned to see Ben’s face turn as hard and white as a sauerkraut crock. When he did not respond, Nan figured that he was just going to back off as he usually did, the shy and retiring husbandman. She did not know her history. She did not know that shy and retiring husbandmen have been known to revolt against oppression with pitchforks drawn.”
—The Last of the Husbandmen
In The Last of the Husbandmen, Gene Logsdon looks to his own roots in Ohio farming life to depict the personal triumphs and tragedies, clashes and compromises, and abiding human character of American farming families and communities. From the Great Depression, when farmers tilled the fields with plow horses, to the corporate farms and government subsidy programs of the present, this novel presents the complex transformation of a livelihood and of a way of life.
Two friends, one rich by local standards, and the other of more modest means, grow to manhood in a lifelong contest of will and character. In response to many of the same circumstances—war, love, moonshining, the Klan, weather, the economy—their different approaches and solutions to dealing with their situations put them at odds with each other, but we are left with a deeper understanding of the world that they have inherited and have chosen.
Part morality play and part personal recollection, The Last of the Husbandmen is both a lighthearted look at the past and a profound statement about the present state of farming life. It is also a novel that captures the spirit of those who have chosen to work the land they love.
In this subtle but inventive novel, presented as Thomas's memoirs, Geary Hobson offers us a glimpse into a life filled with simple joys and sorrows. In relating his Louisiana childhood, Thomas recalls not just school-learning but being taught Indian ways by the small Ofo community. He tells of his life as a roustabout in the oil fields, of his courtship of the rambunctious Sally Fachette, and of his career as a bootlegger, which landed him in prison. We share Thomas's wartime stint with the Marines—where "for the first time in my life I was treated like a equal"—and his life as a farm laborer and a Hollywood extra portraying warbonneted Cheyennes. Then in his later years, when he truly has become the last of his kind, we find Thomas recruited by an anthropologist from the Smithsonian Institution to preserve his people's culture. In Washington, he is exposed to the vagaries of Indian policy and the emerging Native American movement.
Throughout Thomas's story, readers are introduced to a wide-ranging cast of characters, from the outlaws Bonnie and Clyde to a fellow Marine who is wary of Indians, to an uppity anthropologist who doesn't consider Thomas "expert" enough to handle an Ofo flute. Always poor in material wealth but rich in heritage, Thomas Darko is a Native American Everyman whose identity is shaped by family and homeland. His "autobiography" paints a realistic portrait of an Indian confronting the obstacles in his life and the dilemmas of his age as his story reveals the painful legacy of being the last of one's kind.
Matt’s journey to manhood takes place in a vividly depicted landscape populated by lively, memorable characters. This is the powerful story of a young man’s search for an identity that encompasses two cultures and one complex, scattered family.
Youssef’s mother has always told him that he is named after the biblical prophet Joseph who had the power of foresight. But when Youssef participated in the first demonstration in Damascus in 2011, he felt that the uprising against the Bashar al-Assad regime after forty years of silence and fear was “a miracle more powerful than that of the prophet.”
While Josephine, a charming young Alawite, gathers in her home a group of youth to fight for their visions of a promising future, a forbidden love story unfolds between two men, Youssef and Mohammad. Meanwhile, young Khalid’s love for Josephine is brutally interrupted by the agents of the oppressive regime. Homosexuality clashes with tradition, emancipation with persecution, and feelings with loyalties, leading to an upheaval that sweeps away the destinies of the young as well as that of an entire nation.
Omar Youssef Souleimane’s eloquent novel is not only a narrative of the Syrian Revolution; it is also a story about inter-generational conflicts, rebellion, and liberation. With intense, poetic prose, he brilliantly captures the indomitable yearning for freedom that, despite all obstacles and setbacks, always survives in a hopeful person’s heart until it’s attained.
Slovak Jewish writer Leopold Lahola was able to escape deportation to a concentration camp and fight in the resistance only to find himself forced into exile by the postwar communist regime. He emerged from obscurity during the brief thaw of the Prague Spring, when he was able to return to his homeland and thrive as a playwright and film director. It was also in 1968 that his short story collection The Last Thing appeared in Slovakia. The collection’s title proved sadly prophetic with the author suffering a fatal heart attack in January 1968, just before his 50th birthday and as his short stories finally appeared in book form.
The nine stories which make up The Last Thing range from the prewar rise of fascism and its dangers for the Jewish community through the concentration camps and the partisan fight against the Germans, concluding in the devastating awareness of all that had been lost and destroyed in the war. Lahola is a master of writing outside of conventional tropes, exploring moral ambivalences where others work within the comforts of good versus evil. He punctures the standard historical image of the partisan fighters by depicting their heroism along with their cruelty and pettiness while also showing how often bravery and madness, kindness and stupidity can coexist. Lahola has written a World War II story collection whose translation will offer not only a compelling read but starkly new perspectives on the tragedy and grandeur of that momentous time in history.
Writing in a straightforward, light-handed style reminiscent of Grace Paley and Raymond Carver, he spins charming tales that reflect his experiences in two worlds. Troncoso's El Paso is a normal town where common people who happen to be Mexican eat, sleep, fall in love, and undergo epiphanies just like everyone else. His tales are coming-of-age stories from the Mexican-American border, stories of the working class, stories of those coping with the trials of growing old in a rapidly changing society. He also explores New York with vignettes of life in the big city, capturing its loneliness and danger.
Beginning with Troncoso's widely acclaimed story "Angie Luna," the tale of a feverish love affair in which a young man rediscovers his Mexican heritage and learns how much love can hurt, these stories delve into the many dimensions of the human condition. We watch boys playing a game that begins innocently but takes a dangerous turn. We see an old Anglo woman befriending her Mexican gardener because both are lonely. We witness a man terrorized in his New York apartment, taking solace in memories of lost love. Two new stories will be welcomed by Troncoso's readers. "My Life in the City" relates a transplanted Texan's yearning for companionship in New York, while "The Last Tortilla" returns to the Southwest to explore family strains after a mother's death—and the secret behind that death. Each reflects an insight about the human heart that has already established the author's work in literary circles.
Troncoso sets aside the polemics about social discomfort sometimes found in contemporary Chicano writing and focuses instead on the moral and intellectual lives of his characters. The twelve stories gathered here form a richly textured tapestry that adds to our understanding of what it is to be human.
Exuberant and colorful, Latin Moon in Manhattan paints a vivid portrait of New York City as the land of El Dorado for today’s Latino immigrants. From Little Colombia in Queens to the street life of Times Square, this brilliant novel is crowded with an extraordinary cast of characters: Hot Sauce, a midget hooker; Simon Bolivar, a parrot who croons Julio Iglesias songs; the Urrutias, a family rich from cocaine smuggling; Santiago Martinez, a loner and would-be poet whose ancient cat, Mr. O’Donnell, is slowly dying of an enlarged heart. Exploding with a profusion of plots and subplots involving drug smuggling, romance, and the literary politics of Queens, Latin Moon in Manhattan is a rich and utterly charming work.
Latino Los Angeles in Film and Fiction sets out to reconfigure the scope of Latino literary and cultural studies. Integrating histories of different regions and nations, the book sets the interplay of unresolved contradictions in this particular metropolitan area. The novelists studied here stem from multiple areas, including the U.S. Southwest, Guatemala, and Chile. The study also incorporates non-Latino writers who have contributed to the Latino culture of the city.
The first chapter examines Latino cultural production from an ecocritical perspective on urban interethnic relations. Chapter 2 concentrates on the representation of daily life in the barrio and the marginalization of Latino urban youth. The third chapter explores the space of women and how female characters expand their area of operations from the domestic space to the public space of both the barrio and the city.
A much-needed contribution to the fields of urban theory, race critical theory, Chicana/o–Latina/o studies, and Los Angeles writing and film, López-Calvo offers multiple theoretical perspectives—including urban theory, ecocriticism, ethnic studies, gender studies, and cultural studies— contextualized with notions of transnationalism and post-nationalism.
The new and established voices assembled here (including Kathleen Alcalá, Carmen Maria Machado, Ernest Hogan, and other luminaries) invite us to imagine a Latinx past, present, and future that have not been whitewashed by mainstream perspectives. As in the best mixtapes, this anthology moves satisfyingly through the loud and brash, the quiet and thoughtful. There are ghosts, space aliens, robots—and a grandmother who unwittingly saves the universe through her cooking. The result is a deeply pleasurable read that pushes beyond magical realism and social realism to demonstrate all the thrilling possibilities of what Latinx literature can be.
In the intense blossoming of American literary talent between the World Wars, T.S. Stribling took his place with Faulkner, Hemingway, Dos Passos, and other members of his generation with the Pulitzer Prize in 1933 for his bestselling novel The Store. In Laughing Stock, Stribling’s autobiography, the gifted writer reflects with humor, irony, and passion on his trajectory from a remote southern town to the literary heights of Paris and New York.
Refusing to buckle under the pressures of family and political traumas, the sojourners in this collection are unified by themes of creative expression and of love—how we define it, how we are impelled by it, and how we are lifted by it.
The symphonic four-part text presents us with narratives of Egyptian identity, a constant knitting and unravelling that moves us back and forth through time, as the reader slides and leaps across the shifting tectonic plates of Abdellatif’s vignettes, his immaculately limpid prose poetry bringing forth the same questions. Nobody quite belongs in Cairo, it seems, but at the same time none of them belongs anywhere else: a relative emigrates from his Nubian village to the Cairo of the 1930s, where Italian fascists chase him through the streets and into a Maltese exile, only for him to return and make his way back South to the homeland he left. Another relative falls into religious esotericism and later madness, spinning away from Cairo and back to the wasteland of a village relocated after it had been flooded by the Aswan Dam. Meanwhile, in the 1990s, students fight security forces and binge on pills amid the dysfunctional remnants of a centralized state whose gravitational pull uprooted their parents and offered the possibility of assimilation into a national identity.
Through the clear sky of Abdellatif’s novel his characters, the spaces they call home, their way-stations, and even the nation that contains them all are a murmuration of starlings, held together and apart forever.
What was it that flew over with such a terrifying roar? Was it, as many said, the devil, or was it that thing a few had heard of, a flying machine? And those electric lights at Jacob Gallo’s farm, were they witchcraft or were they science?
The theme of this harshly powerful novel is the impact of modern technology and ideas on a few isolated, tradition-bound hamlets in the aftermath of the Mexican Revolution of 1910. The old ways are represented by Epifanio Trujillo, the cacique of the region, now ailing and losing his grip on things; by ancient Madre Matiana, the region’s midwife, healer, counselor, and oracle; by penniless Rómulo and his wife Merced. “Progress” is represented by Don Epifanio’s bastard son Jacob, who acquired money and influence elsewhere during the Revolution and who now, against his father’s will, brings electricity, irrigation, fertilizers, and other modernities to the lean lands—together with armed henchmen. The conflict between the old and the new builds slowly and inexorably to a violent climax that will long remain in the reader’s memory.
The author has given psychological and historical depth to his story by alternating the passages of narrative and dialogue with others in which several of the major characters brood on the past, the present, and the future. For instance, Matiana, now in her eighties, touchingly remembers how she was married and widowed before she had reached her seventeenth birthday. This dual technique is superbly handled, so that people and events have both a vivid actuality and an inner richness of meaning. The impact of the narrative is intensified by the twenty-one striking illustrations by Alberto Beltrán.
In the lead story, Cowboy Clint Hamilton laments that the town is “getting more like a big city every day” as the traditional gambling joints of earlier times give way to the gaudy casinos that will soon become modern glitz.
Sobering experiences from his days as a reporter give Laxalt an insight into murderers and prison life and lethal gas chambers. In a chilling short story, “The Snake Pen,” we find the seed of Robert Laxalt’s celebrated novel, A Man In the Wheatfield.
Eastern Pennsylvania during the 1950s: King Coal has been dethroned, the railroads are all but defunct, and the region is in an economic depression. Fathers are forced to commute many miles to work, while at home the kids know no other pastime but to run wild in the woods. From the same author who intrigued readers with his whimsical stories of childhood in Jim Thorpe Never Slept Here comes an all-new batch of coming-of-age tales in Leap of Faith.
In these eight stories, the adults are often offstage, leaving the children to make up the rules as they go. From the story of an unrepentant bully who gets more than he deserves to the tale of a boy who finds serenity in short bursts of flight, Richard Benyo captures a time and a place where small triumphs are enormous, where the strong rule and the swift survive, and where the outside world—beyond the mountains that enclose Mauch Chunk, Pennsylvania—seldom intrudes.
Whether describing the scene in China where the devastated landscape is reconstructed according to old paintings, or in the galactic realm of the Starway where giant, turf-battling, corporate colonizing forces exploit the universe’s resources, Kluge tells his tale by inventing various forms of “evidence” that satirize the discourses of administrative bureaucracy, the law, military security, and the media. He gives us some of his most bizarre and hilarious characters in this peculiar world in which the remains of the past are mixed with the most advanced elements of the future. The cast includes highly specialized women workers who have adapted to the massive gravitational field of their heavy-metal planets, a commander with lethal foot-fungus, and ex-Nazi space pioneers who, in their lonely exile from the conflagrations on earth, spend their time carving enormous facsimiles of operatic sheet music in the forests of uninhabited planets.
With parody, and humor, Kluge shows how the survivors of Armageddon attempt to learn the art of civilization, and, despite the disaster they have suffered, how they set out to reproduce at new sites a caricature of a classic and fascistic feudal capitalism.
A welcome link to the chain connecting the early masters of detective fiction.... The collection offers a window into the early days of American detective fiction and the power of deductive thinking."—Sarah Weinman, Los Angeles Times
"This story collection featuring New York City private detective James Brampton will intrigue Sherlock Holmes fans, given the number of eerie parallels between the two characters."—Publishers Weekly
"It is the observation of small things that makes a good detective, for it is often the most trivial circumstance which supplies the first link in the chain." —James Brampton
Twenty years before the Sherlock Holmes mysteries were written, a fictional New York private investigator was celebrated for his ability to solve crimes based on the principles of observation and deductive reasoning that later became Holmes' hallmark. Originally published in 1864 and never before reprinted, Leaves from the Note-Book of a New York Detective features twenty-nine cases of James Brampton, the first American detective hero to appear in fiction. The book opens with a chance meeting between a medical doctor, John Babbington Williams (the actual author of the stories), and detective James Brampton. They become acquaintances, and after Brampton has retired after twenty years of service, he sends his case notebooks to Dr. Williams to be edited and published. The result is a stunning collection of intriguing mysteries, including "The Defrauded Heir," "The Phantom Face," "A Satanic Compact," and "The Walker Street Tragedy." In case after case, using his power of observation, detective Brampton is able prove the innocence of the wrongly accused. Never before reprinted, this first modern edition of this important work now takes its place once more in the development of detective fiction between Edgar Allan Poe and Arthur Conan Doyle, the casebook of the original American detective hero.
In the insular Portuguese fishing community of Provincetown, Josie Carvalho’s life has been shaped by the annual influx of summer tourists and his great aunt’s fervent, if idiosyncratic, Catholicism. The counterweight to these forces has always been Josie’s relationship with his grandfather John Joseph, a drunk, clam-poaching old man who is nevertheless a sly and masterful storyteller.
After a stranger starts dating Josie’s mother and upsets the family’s equilibrium, John Joseph heals the rift with the colorful and adventurous stories of their ancestor, Francisco Carvalho, a Portuguese explorer who just may have beaten Columbus to the New World. With the guidance of these obscure but inspired tales, Josie begins to find new ways of understanding his family and the outside world. This new edition of Leaving Pico makes Frank X. Gaspar’s award-winning coming-of-age novel accessible to a new generation of readers.
The eminent philosopher Paul Ricoeur was devoted to the imagination. These previously unpublished lectures offer Ricoeur’s most significant and sustained reflections on creativity as he builds a new theory of imagination through close examination, moving from Aristotle, Pascal, Spinoza, Hume, and Kant to Ryle, Price, Wittgenstein, Husserl, and Sartre. These thinkers, he contends, underestimate humanity’s creative capacity. While the Western tradition generally views imagination as derived from the reproductive example of the image, Ricoeur develops a theory about the mind’s power to produce new realities. Modeled most clearly in fiction, this productive imagination, Ricoeur argues, is available across conceptual domains. His theory provocatively suggests that we are not constrained by existing political, social, and scientific structures. Rather, our imaginations have the power to break through our conceptual horizons and remake the world.
After burning up the blacktop in New Mexico with The Fast Red Road and rewriting Indian history on the Great Plains with The Bird is Gone, Stephen Graham Jones now takes us to Montana. Set on a Blackfeet Indian reservation, Ledfeather lays bare the life of one Indian boy, Doby Saxon: his near-death experience, his suicide attempts, his brief glimpse of victory, and the unnecessary death of one of his best friends.
But through Doby emerges a connection to the past, to an Indian Agent who served the United States government over a century before. This revelation leads to another and another until it becomes clear that the decisions of this single Indian agent have impacted the lives of generations of Blackfeet Indians—and the life of Doby Saxon, a boy standing in the middle of the road at night, his hands balled into fists, the reservation wheeling all around him like the whole of Blackfeet history collapsing in on him.
Jones’s beautifully complex novel is a story of life, death, love, and the ties that bind us not only to what has been, but what will be: the power of one moment, the weight of one decision, the inevitability of one outcome, and the price of one life.
In Legacy of the Blue Mountains, author Lynn Galvin asks: What might happen to a group of Apache children, born in present times, yet living as if in the past and marooned in the Sierra Madre mountains of Mexico when their last renegade adult dies? As they attempt to reach their nearest, last known family members, they embark on a journey to a place none of them has ever seen or visited before. Will they be able to remain undetected while following a memorized path laid out in previous centuries that will lead them into the modern world? As the last remaining Apache children confront the challenges of survival in unfamiliar lands, will they endure long enough to reunite with their remaining relatives?
Steirer’s expansive view of intellectual property law encompasses not only statutes and judicial opinions, but also the everyday practices and productions of authors, editors, fans, and other legal laypersons. The result is a history of the law as improvisatory and accident-prone, taking place as often outside the courtroom as inside, and shaped as much by laypersons as lawyers. Through the examination of influential legal disputes involving early properties such as Dashiell Hammett’s Sam Spade, H. P. Lovecraft’s Cthulhu Mythos, and Robert E. Howard’s Conan the Barbarian, Steirer provides a ground’s eye view of how copyright law has operated and evolved in practice.
Egocentric and domineering, Bronsard’s grandmother was once a vibrant and sensual beauty. In Indochina at the end of the Second World War, she thrived in the social life of the French colony, but her young soldier husband sought a quieter existence, finding solace in the companionship of their adolescent daughter, Bronsard’s mother. The consequences of this choice reverberate throughout the family. But far from being an airing of grievance or dirty laundry, Bronsard’s memoir has the air of catharsis—here, the pain, secrets, and comic moments of Bronsard’s family are remembered with gentle humor, understanding, and affection. A wry irony tempers emotion, and it is in these pages that the author, at last, finds it possible to name the woman of the legend and perhaps bring her grandmother a measure of peace.
“I’m in a business where people come to me with troubles. Big troubles, little troubles, but always troubles they don’t want to take to the cops.” That’s Raymond Chandler’s Philip Marlowe, succinctly setting out our image of the private eye. A no-nonsense loner, working on the margins of society, working in the darkness to shine a little light.
The reality is a little different—but no less fascinating. In The Legendary Detective, John Walton offers a sweeping history of the American private detective in reality and myth, from the earliest agencies to the hard-boiled heights of the 1930s and ’40s. Drawing on previously untapped archival accounts of actual detective work, Walton traces both the growth of major private detective agencies like Pinkerton, which became powerful bulwarks against social and labor unrest and the motley, unglamorous work of small-time operatives. He then goes on to show us how writers like Dashiell Hammett and editors of sensational pulp magazines like Black Mask embellished on actual experiences and fashioned an image of the PI as a compelling, even admirable, necessary evil, doing society’s dirty work while adhering to a self-imposed moral code. Scandals, public investigations, and regulations brought the boom years of private agencies to an end in the late 1930s, Walton explains, in the process fully cementing the shift from reality to fantasy.
Today, as the private detective has long since given way to security services and armed guards, the myth of the lone PI remains as potent as ever. No fan of crime fiction or American history will want to miss The Legendary Detective.
The collected lore of Minnesota's favorite lumberjack hero
Paul Bunyan is a true American folk character, created in logging camp bunkhouses by men who spun exaggerated stories that combined hard work and fantasy.
While the origins of Paul Bunyan and his sidekick Babe the Blue Ox are hazy, many storytellers have over the years contributed their own takes to produce an existing body of work--a true American legend--that matches the size of the lumberjack himself. Collected in colorful and engaging sections such as "Paul the Man," "Paul and the Animal Kingdom," and "The Wonderful Big Blue Ox, Babe," Legends of Paul Bunyan features more than thirty authors celebrating the largest lumberman, including stories by such Bunyan luminaries as James Stevens and W. B. Laughead, as well as such literary icons as Robert Frost and Carl Sandburg.
The legends in this volume were recorded, transcribed, reviewed, and edited by Wilson Wewa and James Gardner. Each legend was recorded, then read and edited out loud, to respect the creativity, warmth, and flow of Paiute storytelling. The stories selected for inclusion include familiar characters from native legends, such as Coyote, as well as intriguing characters unique to the Northern Paiute, such as the creature embodied in the Smith Rock pinnacle, now known as Monkey Face, but known to the Paiutes in Central Oregon as Nuwuzoho the Cannibal.
Wewa’s apprenticeship to Northern Paiute culture began when he was about six years old. These legends were passed on to him by his grandmother and other tribal elders. They are now made available to future generations of tribal members, and to students, scholars, and readers interested in Wewa’s fresh and authentic voice. These legends are best read and appreciated as they were told—out loud, shared with others, and delivered with all of the verve, cadence, creativity, and humor of original Paiute storytellers on those clear, cold winter nights in the high desert.
The Length of Days: An Urban Ballad is set mostly in the composite Donbas city of Z—an uncanny foretelling of what this letter has come to symbolize since February 24, 2022, when Russia launched a full-scale invasion of Ukraine. Several embedded narratives attributed to an alcoholic chemist-turned-massage therapist give insight into the funny, ironic, or tragic lives of people who remained in the occupied Donbas after Russia’s initial aggression in 2014.
With elements of magical realism, Volodymyr Rafeyenko’s novel combines a wicked sense of humor with political analysis, philosophy, poetry, and moral interrogation. Witty references to popular culture—Ukrainian and European—underline the international and transnational aspects of Ukrainian literature. The novel ends on the hopeful note that even death cannot have the final word: the resilient inhabitants of Z grow in power through reincarnation.
The Leonard Cohen at the center of Leonard Cohen: A Novel is an everyman, a would-be artist, a would-be lover, a would-be tragic figure, yet a man haunted by the greatness of his namesake. He struggles to compete. He struggles to be more than a punchline in his own mind. He struggles, in particular, to write one song as great as the least of the great Leonard Cohen's songs.
At the center of Leonard's life is Daphne. In their meeting on a Greek island, a contemporary fable of Daphne and Apollo plays out. But even with Daphne, Leonard is shadowed by the other Leonard Cohen, whom he fears is the real Apollo. The ancient myth haunts the fated lovers, and the nobody Leonard Cohen’s life becomes at once a mystery, a miracle, and a myth on its own terms.
Once upon a time, Apollo fell hard for Daphne, who turned herself into a laurel tree. No less a fate awaits the protagonists of this slender yet universal novel, where art, love, and fame all fatefully intertwine.
One of the most widely read feminist texts of the twentieth century, and Monique Wittig’s most popular novel, Les Guérillères imagines the attack on the language and bodies of men by a tribe of warrior women. Among the women’s most powerful weapons in their assault is laughter, but they also threaten literary and linguistic customs of the patriarchal order with bullets. In this breathtakingly rapid novel first published in 1969, Wittig animates a lesbian society that invites all women to join their fight, their circle, and their community. A path-breaking novel about creating and sustaining freedom, the book derives much of its energy from its vaunting of the female body as a resource for literary invention.
One character sands in the Prince’s way—Princess Sophia from Grimm’s lesser known “12 Dancing Princesses.” She’s stable—mostly—but Prince Charming is most definitely not. The good Storyteller and the First Character have tasked Sophia with stopping the Prince from destroying their world, and, by extension, ours.
On the rocky shores of Lake Superior, a piercing story of selfhood and determinism develops: is the future what we’re handed or what we make of it?
It’s 1910, and Theodulf Sauer has finally achieved a position befitting his ego: master lighthouse keeper at a newly commissioned station towering above Lake Superior. When his new wife, Willa, arrives on the first spring ferry, it’s clear her life has taken the opposite turn: after being summoned home from college to Duluth when her father dies, she and her scheming mother find themselves destitute, and Willa is rushed into this ill-suited arranged marriage before she can comprehend her fate.
As the lighthouse station establishes, the new relationship teeters between tense and hostile, with little mutual understanding or tenderness. Willa takes solace in her learned fascination with the cosmos, especially (despite her husband’s suspicion of the event) in viewing the imminent Halley’s Comet. Under ominous night skies, Theodulf stands sentry over the lake, clinging to long-ago and faraway memories of happiness that fill him with longing and shame.
Into this impasse, a clairvoyant girl and her resolute uncle emerge from across the cove. They see through the Sauers’ thin façade and, by turns and in different ways, convey promise, sympathy, and insight that counter Willa’s despair. Armed with renewed self-determination, Willa forges a path to happiness. But before she can grasp it, tragedy comes to their remote beacon, and her future plunges toward a dark unknown.
Set against a brooding and beautiful landscape, A Lesser Light is a story about industry and calamity, science versus superstition, inner desire countered with societal expectations—and the consequences when these forces collide in the wilderness of rapid social change.
“Lester Higata knew his life was about to end when he walked out on the lanai behind his house in Makiki and saw his long-dead father sitting in a lawn chair near the little greenhouse where Lester kept his orchids.” Thus begins Barbara Hamby’s magical narrative of the life of a Japanese American man in Honolulu. The quietly beautiful linked stories in Lester Higata’s 20th Century bring us close to people who could be, and should be, our friends and neighbors and families.
Starting in 1999 with his conversation with his father, continuing backward in time throughout his life with his wife, Katherine, and their children in Hawai‘i, and ending with his days in the hospital in 1946, as he heals from a wartime wound and meets the woman he will marry, Hamby recreates not just one but any number of the worlds that have shaped Lester. The world of his mother, as stubbornly faithful to Japan and Buddhism as Katherine’s mother is to Ohio and conservative Christianity; the world of his children, whose childhoods and adulthoods are vastly different from his own; the world after Pearl Harbor and Vietnam; the world of a professional engineer and family man: the worlds of Lester Higata’s 20th Century are filled with ordinary people living extraordinary lives, moving from farms to classrooms and offices, from racism to acceptance and even love, all in a setting so paradisal it should be heaven on earth.
Never forgetting the terrors of wartime—“We wake one morning with the wind racing toward us like an animal, and nothing is ever the same”—but focusing on the serene joys of peacetime, Lester populates his worlds with work, faith, and family among the palm trees and blue skies of the island he loves.
James Magruder’s collection of linked stories follows two gay cousins, Tom and Elliott, from adolescence in the 1970s to adulthood in the early ’90s. With a rueful blend of comedy and tenderness, Magruder depicts their attempts to navigate the closet and the office and the lessons they learn about libidinous coworkers, résumé boosting, Italian suffixes, and frozen condoms. As Tom and Elliot search for trusting relationships while the AIDS crisis deepens, their paths diverge, leading Tom to a new sense of what matters most. Magruder is especially adept at rendering the moments that reveal unwritten codes of behavior to his characters, who have no way of learning them except through painful experience.
Loss is sudden, the fallout portrayed with a powerful economy. In Tom and Elliott, readers come to recognize themselves, driven by the same absurd desires and unconscious impulses, subjected to the same fates.
Early in the twentieth century, drawing upon the hundreds of letters written to his father by students who had emigrated to northeastern Iowa from Mecklenburg, in northeastern Germany, Johannes Gillhoff created the composite character of Juernjakob Swehn: the archetype of the upright, honest mensch who personified the German immigrant, on his way to a better life through ambition and hard work. Gillhoff's farmer-hero, planting and harvesting his Iowa acres, joking with his neighbors during the snowy winters, building a church with his own hands, proved so popular with the German public that a million copies of Jürnjakob Swehn der Amerikafahrer are in print. Now for the first time this wise and endearing book is available in English.
“First, let's talk about pigs,”Juernjakob Swehn writes from his farm in Iowa. “In America, pigs have a curly tail and talk in Low German so I can understand them.” Swehn builds a log house and makes a success of farming, marries a woman who's “a whole different nation that has its confidence from the inside,” raises a family, and becomes an elder in the Lutheran church. He recognizes his good fortune but acknowledges that memories of his village grow stronger every year, that “being homesick is the best thing that home can do for you …no power on earth holds on to you like your homeland.” It is this sense of home, both in Iowa and in Mecklenburg, that makes Juernjakob Swehn appeal to today's readers as much as he appealed to readers in 1916.
Bigger-than-life, half goddess, half Bette Davis, Mina sends letter after letter to friends and co-conspirators, holding her reader captive through a display of illusion and longing. Juggling quivering vulnerability on one hand and gossip on the other, Mina spoofs and consumes and spews back up demented reembodiments of trash media and high theory alike. It's all fodder for her ravenous libido and "a messy ambiguous place where pathology meets pleasure." Sensuous and captivating, The Letters of Mina Harker describes one woman's struggles finding the right words to explain her desires and fears without confining herself to one identity.
A charming Greek romance narrated by its hero.
Achilles Tatius was a Greek from Alexandria in Egypt; he is now believed to have flourished in the second century AD. Of his life nothing is known, though the Suidas says he became a Christian and a bishop and wrote a work on etymology, one on the sphere, and an account of great men. He is famous however for his surviving novel in eight books, The Adventures of Leucippe and Clitophon, one of the best Greek love stories. Clitophon relates to a friend the various difficulties which he and Leucippe had to overcome before they are happily united. The story is full of incident and readers are kept in suspense. There are many digressions giving scientific facts, myths, meditations, and so on, the interest of which redeems irrelevance.
Level 7 is the diary of Officer X-127, who is assigned to stand guard at the "Push Buttons," a machine devised to activate the atomic destruction of the enemy, in the country’s deepest bomb shelter. Four thousand feet underground, Level 7 has been built to withstand the most devastating attack and to be self-sufficient for five hundred years. Selected according to a psychological profile that assures their willingness to destroy all life on Earth, those who are sent down may never return.
Originally published in 1959, and with over 400,000 copies sold, this powerful dystopian novel remains a horrific vision of where the nuclear arms race may lead, and is an affirmation of human life and love. Level 7 merits comparison to Huxley’s A Brave New World and Orwell’s 1984 and should be considered a must-read by all science fiction fans.
This collection, the first of its kind, gathers original and previously published fiction and poetry from lesbian, gay, bisexual, transgender, and queer authors from Appalachia. Like much Appalachian literature, these works are pervaded with an attachment to family and the mountain landscape, yet balancing queer and Appalachian identities is an undertaking fraught with conflict. This collection confronts the problematic and complex intersections of place, family, sexuality, gender, and religion with which LGBTQ Appalachians often grapple.
With works by established writers such as Dorothy Allison, Silas House, Ann Pancake, Fenton Johnson, and Nickole Brown and emerging writers such as Savannah Sipple, Rahul Mehta, Mesha Maren, and Jonathan Corcoran, this collection celebrates a literary canon made up of writers who give voice to what it means to be Appalachian and LGBTQ.
Liberty Lanes is a bowling alley in a small Montana town where a senior bowling league meets three times a week. Nelson Moore, one of the bowlers, has recently become a local hero by saving a teammate from choking on a happy hour chicken bone. Now he must deal with his newfound fame while coping with the early stages of dementia.
This is an engaging and often moving novel about a group of senior citizens bound together by old friendships and romances, and by their determination to live life to its fullest. Senescence is not for sissies, but these characters show us that it is still a time to love, dream, and explore their own potential.
Antiquity’s most influential mythological handbook.
The Library provides in three books a grand summary of traditional Greek mythology and heroic legends. Written in clear and unaffected style, the compendium faithfully follows the Greek literary sources. It is thus an important record of Greek accounts of the origin and early history of the world and their race. This work has been attributed to Apollodorus of Athens (born ca. 180 BC), a student of Aristarchus. But the text as we have it was written by an author probably living in the first or second century of our era.
In his highly valued notes to the Loeb Classical Library edition (which is in two volumes) J. G. Frazer cites the principal passages of other ancient writers where each particular story is told and compares the various versions to those in the Library.
Antiquity’s most influential mythological handbook.
The Library provides in three books a grand summary of traditional Greek mythology and heroic legends. Written in clear and unaffected style, the compendium faithfully follows the Greek literary sources. It is thus an important record of Greek accounts of the origin and early history of the world and their race. This work has been attributed to Apollodorus of Athens (born ca. 180 BC), a student of Aristarchus. But the text as we have it was written by an author probably living in the first or second century of our era.
In his highly valued notes to the Loeb Classical Library edition (which is in two volumes) J. G. Frazer cites the principal passages of other ancient writers where each particular story is told and compares the various versions to those in the Library.
Lies To Live By brings together two selections of stories by Ojibwe storyteller Lois Beardslee. “Lies to Live By,” a series of interdependent tales, reflects the storyteller’s role in interpreting traditional stories for contemporary audiences, while preserving traditions based not in mysticism but in pragmatism. In “Calm Days,” three generations—the narrator, her grandfather, and her son—spend a week together on a remote island during the course of which they demonstrate the continuity of Ojibwe life. Together these stories weave the contemporary and the traditional to show how cultural diversity can be preserved even as cultural boundaries are transcended.
Then it disappeared.
No one laid eyes on it until 2016, when literary scholar Zachary Turpin, University of Houston, followed a paper trail deep into the Library of Congress, where the sole surviving copy of Jack Engle has lain waiting for generations. Now, after more than 160 years, the University of Iowa Press is honored to reprint this lost work, restoring a missing piece of American literature by one of the world’s greatest authors, written as he verged on immortality.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Life, Brazen and Garish offers a fresh take on the epistolary novel, telling the story of a family through the fragmented and disparate perspectives of daughter, mother, and grandmother. Yet even as each woman endures her private struggles with love and betrayal, youth and maturity, knowledge and ignorance, reality and illusion, the Cascadeis forge a solidarity that transcends generations. In turns heartbreaking and laugh-out-loud funny, this novel is a triumph of narrative voice and literary style from one of Italy’s most renowned writers.
Questo libro è stato tradotto grazie a un contributo del Ministero degli Affari Esteri e della Cooperazione Internazionale italiano.
This book has been translated thanks to a contribution from the Italian Ministry of Foreign Affairs and International Cooperation.
A close-up portrait of an ordinary existence, Life in Peacetime offers a new look at the postwar era in Italy and the fundamental contradictions of a secure, middle-class life.
Max, alone with his three teenage sons for the first time, is left contemplating life and the daily routine of the little bar of which he is the proprietor. As he spends more time with the regulars their problems begin to become his own. This new novel by Alex Capus is a hymn to trust, friendship and life’s small pleasures. Told with his trademark humor, Life is Good is a novel about finding contentment in rootedness as the world speeds up.
In ways similar to Nabokov's Speak, Memory, Bunin's novel powerfully evokes the atmosphere of Russia in the decades before the Revolution and illuminates those Russian literary and cultural traditions eradicated in the Soviet era. This first full English-language edition updates earlier translations, taking as its source the version Bunin revised in 1952, and including an introduction and annotations by Andrew Baruch Wachtel.
When a new arrival emerges from the apes, God believes he has finally found the companion he needs to help him make sense of his unruly creation. Yet, as the centuries pass, God feels more and more out of place in the world he has created; by the close of his memoir, he is packing his bags.
Highly praised and widely reviewed, The Life of God is a playful, wondrous, and irresistible book, recounting thousands of years of religious and philosophical thought.
"A supreme but imperfect entity, the protagonist of this religiously enlightened and orthodoxically heretical novel is possessed by a raving love for his skewed, unbalanced world. . . . Blessed are the readers, for this tale of God's long insomnia will keep them happily awake. . . . Extraordinary." —Umberto Eco
"The Life of God is, in truth, the synthesis of a charming writer's . . . expression of his boundless hopes for, and poignant disappointments in, his own human kind." —Jack Miles, New York Times Book Review
"Rather endearing. . . . This exceedingly amusing novel . . . is a continuous provocation and delight; there isn't a dull page in it." —Kirkus Reviews
"A smart and charming knitting of secular and ecclesiastic views of the world. . . . The character of God is likable—sweet, utterly human. . . . The prose is delightful . . . the writing is consistently witty and intelligent and periodically hilarious." —Allison Stark Draper, Boston Review
"'God's only excuse is that he does not exist,' wrote Stendhal, but now Franco Ferrucci has provided the Supreme Being with another sort of alibi." —James Morrow, Washington Post Book World
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2025
The University of Chicago Press