Bruna and Her Sisters in the Sleeping City chronicles a wealthy, eccentric family with an ancient presence in northern Ecuador. Bruna’s past is dominated by ghosts and scandals that linger in the old family home in the mountains. As she pieces together the outrageous adventures of her ancestors and relatives, Bruna emerges from the husk of tradition to achieve a balance between the best of the old and the new. Tracing the complete history of Ecuador from the Conquest through the 1970s, the book is a seriocomic examination of the tensions and conflicts inherent in a world that wavers between its oppressive colonial past and its future as a modern society obsessed with material gain.

Outstanding Academic Title, CHOICE

The Buck, the Black, and the Existential Hero: Refiguring the Black Male Literary Canon, 1850 to Present combines philosophy, literary theory, and jazz studies with Africana studies to develop a theory of the black male literary imagination. In doing so, it seeks to answer fundamental aesthetic and existential questions: How does the experience of being black and male in the modern West affect the telling of a narrative, the shape or structure of a novel, the development of characters and plot lines, and the nature of criticism itself?
 
James B. Haile argues that, since black male identity is largely fluid and open to interpretation, reinterpretation, and misinterpretation, the literature of black men has developed flexibility and improvisation, termed the “jazz of life.” Our reading of this literature requires the same kind of flexibility and improvisation to understand what is being said and why, as well as what is not being said and why. Finally, the book attempts to offer this new reading experience by placing texts by well-known authors, such as Frederick Douglass, Ralph Ellison, and Colson Whitehead, in conversation with texts by those who are less well known and those who have, for the most part, been forgotten, in particular, Cecil Brown. Doing so challenges the reader to visit and revisit these novels with a new perspective about the social, political, historical, and psychic realities of black men.
 

The unique vision in Janko's Buffalo Boy and Geronimo is the depiction of the Vietnam War as seen through the lens of a wounded but resilient nature, as a Confucian society still rooted in the earth and the unbroken fabric of ancestors is pitted against a desensitized military high-tech culture. As critic Paul Pines noted, "The forces here that seek to conquer the landscape are those, which by implication, shatter the harmonious fabric of the natural world to create a pathology that is far deeper than the political stakes indicate—one that indeed may determine the future of the entire ecosphere."

The two heroes of the book, Nguyen Luu Mong, the Vietnamese buffalo boy, and Antonio Lucio, the US Chicano medic (Geronimo), both have a deep respect for the natural world, and it is through their eyes that we witness the devastation of the natural world of which they are a part.

Geronimo's unit is engaged in search and destroy missions, and he becomes appalled by the pain and death inflicted on animals and humans. Eventually, he deserts and finds his way back into the jungle. Meanwhile, the young adolescent Mong loses his beloved buffalo in an early firefight and eventually sees his entire village destroyed, the survivors relocating deeper into Viet Cong territory. 

This dark comedy takes place in a seedy motel room outside Oklahoma City, where Agnes, a drug-addled cocktail waitress, is hiding from her ex-con ex-husband. Her lesbian biker friend R.C. introduces her to Peter, a handsome drifter who might be an AWOL Gulf War veteran. They soon begin a relationship that takes place almost entirely within the increasingly claustrophobic confines of her motel room. Peter begins to rant about the war in Iraq, UFOs, the Oklahoma City bombings, cult suicides, and then secret government experiment on soldiers, of which he believes he is a victim. His delusions infect Agnes and the tension mounts as mysterious strangers appear at their door, past events haunt them at every turn and they are attacked by real bugs. Tracy Letts's tale of love, paranoia, and government conspiracy is a thought-provoking psycho-thriller that mixes terror and laughter at a fever pitch.

The Bureaucrats (Les Employes) stands out in Balzac's immense Human Comedy by concentrating precisely and penetratingly on a distinctive "modern" institution: France's state bureaucracy. Rabourdin, aided by his unscrupulous wife, attempts to reorganize and streamline the entire system. Rabourdin's plan will halve the government's size while doubling its revenue. When the plan is leaked, Rabourdin's rival—an utter incompetent—gains the overwhelming support of the frightened and desperate body of low-ranking functionaries.

The novel contains the recognizable themes of Balzac's work: obsessive ambition, conspiracy and human pettiness, and a melodramatic struggle between the social good and the evils of folly and stupidity. It is also an unusual, dramatized analysis of a developing political institution and its role in shaping social class and mentality.

By Authors Possessed examines the development of the demonic in key Russian novels from the last two centuries. Defining the demonic novel as one that takes as its theme an evil presence incarnated in the protagonists and attributed to the Judeo-Christian Devil, Adam Weiner investigates the way the content of such a book can compromise the moral integrity of its narration and its sense of authorship.

Weiner contends that the theme of demonism increasingly infects the narrative point of view from Gogol's Dead Souls to Dostoevsky's The Devils and Bely's Petersburg, until Nabokov exorcised the demonic novel through his fiction and his criticism. Starting from the premise that artistic creation has always been enshrouded in a haze of moral dilemma and religious doubt, Weiner's study of the demonic novel is an attempt to illuminate the potential ethical perils and aesthetic gains of great art.

Tahar Ben Jelloun’s By Fire, the first fictional account published on the Arab Spring, reimagines the true-life self-immolation of Mohamed Bouazizi in Tunisia, an event that has been credited with setting off the Tunisian revolt. The novella depicts the days leading up to Bouazizi’s self-immolation. Ben Jelloun’s deliberate ambiguity about the location of the story, set in an unnamed Islamic country, allows the reader to imagine the experiences and frustrations of other young men who have endured physical violence and persecution in places beyond Tunisia. The tale begins and ends in fire, and the imagery of burning frames the political accounts in The Spark, Ben Jelloun’s nonfiction writings on the Tunisian events that provide insight into the despotic regimes that drove Bouazizi to such despair. Rita S. Nezami’s elegant translations and critical introduction provide the reader with multiple strategies for approaching these potent texts.