Cyrus the Lion sends the wolf Dmitri Stepanovich on a diplomatic mission, and in the course of his journey he discovers truths about natural history, war, and politics for which he was unprepared. The subsequent war that breaks out in The Abolition of Species will come to span three planets and thousands of years—encompassing treachery and massacres, music and mathematics, savagery and decadence, as well as the terraformation of Mars and Venus and the manipulation of time itself. By turns grandiose, horrific, erotic, scathing, and visionary, The Abolition of Species is a tale of love and war after the fall of man and an epic meditation on the theory of evolution unlike any other.

Mamadou Diouf unearths the intellectual and cultural traditions that have long defined Africa, proving that history was never just written about Africa, but also by it.

For too long, Africa has been framed as an afterthought in world history—a continent written into the margins of time. In Africa in the World’s Time, renowned historian Mamadou Diouf dismantles these colonial narratives and reclaims Africa’s rightful place at the center of global historical thought. Moving beyond Western frameworks, Diouf examines the continent’s intellectual traditions and demonstrates how African artists and historians have shaped and reshaped how we understand the past.

Tracing central debates from the independence era to today, Diouf examines figures like Cheikh Anta Diop and Samir Amin, as well as the vital role of literature and film in contesting predominant histories. He challenges the linear, Eurocentric timelines that have long governed historical discourse, and puts forward a vision of Africa as a force that has always been influencing and reimagining the world.
 

Offering a compelling call to arms while challenging the pervasive grip of colonialism on the Black psyche, this manifesto charts a course toward a future defined by autonomy, dignity, and radical liberation. 

Delving into the historical currents of resistance—from Negritude to Black nationalism to pan-Africanism—this manifesto unapologetically confronts the insidious nature of modern colonialism. In a world where the very presence of the Black body incites fear and insecurity among white supremacists, Afro-Decolonial Manifesto exposes the fallacy of equating Black existence with reverse colonialism. It challenges the prevailing narratives of gratitude and guilt, asserting the right of the Black diaspora to reclaim its autonomy and dignity, and also examines the effectiveness of movements like Black Lives Matter, advocating for a renewed Black internationalism rooted in Africa’s unity and autonomy.  

In a stirring call to arms, Afro-Decolonial Manifesto heralds a new era of resistance, where reparation becomes not just a demand for restitution, but a catalyst for radical change. This volume emboldens Black people to reclaim their narrative, their agency, and their future. It is a testament to the enduring spirit of liberation and the indomitable resilience of Black lives.

Challenging conventional notions of racial and regional identity, Léonora Miano provides a fresh perspective on the complexities of self-perception.
 
In this ground-breaking exploration, French-Cameroonian author Léonora Miano unveils a distinct sensibility shaped by her sub-Saharan African roots, setting her apart from those who identify as Afro-Europeans, or Afropeans, a group forged within the European context. Drawing on her unique perspective, Miano reveals the complexities that determine self-perception and complicate the bonds of identification and solidarity between Afro-Europeans and their sub-Saharan counterparts. Contrasting with France’s approach of lumping all citizens of sub-Saharan descent together under an “African” label, the author questions the effectiveness of such categorization in fostering a genuine connection to one’s country and assuming responsibility for its future.
 
Despite the many challenges, Miano finds hope in the Afropean identity—those who embrace the fusion of Africa and Europe within their self-designation—believing it holds the potential to embody a transformative, fraternal, anti-imperialist, and anti-racist societal project. Yet, she acknowledges the persistent struggle for acceptance and understanding in a society grappling with identity tensions. In this powerful narrative, Miano examines the allure of rejection that exists on both sides of the divide, offering a nuanced examination of the delicate balance between cultures, identities, and the pursuit of a utopian vision. Timely and captivating, this book is essential to understanding the Afropean perspective.

In contemporary Norwegian fiction Tomas Espedal’s work stands out as uniquely personal; it can be difficult to separate the fiction from Espedal’s own experiences. In that vein, his novel Against Art is not just the story of a boy growing up to be a writer, but it is also the story of writing. Specifically, it is about the profession of writing—the routines, responsibility, and obstacles. Yet, Against Art is also about being a father, a son, and a grandson; about a family and a family’s tales, and about how preceding generations mark their successors. It is at once about choices and changes, about motion and rest, about moving to a new place, and about living.

A powerful work by the heralded writer, this collection is a touchstone event in German literature of the post-war era.

On April 8, 1945, several American bomber squadrons were informed that their German targets were temporarily unavailable due to cloud cover. As it was too late to turn back, the assembled ordnance of more than two hundred bombers was diverted to nearby Halberstadt. A mid-sized cathedral town of no particular industrial or strategic importance, Halberstadt was almost totally destroyed, and a then-thirteen-year-old Alexander Kluge watched his town burn to the ground. 

The personal history of journalist Henri Alleg is tied inextricably to the history of the French-Algerian Conflict. Best known for his book The Question, a first-hand account of his torture by French troops during the Algerian war for independence, Alleg is famous both for having brought the issue of French torture to the public eye and for his passionate work as a writer, a newspaperman, and a communist activist.

A twist on the classic tale of Alice in Wonderland told through Nicolas Mahler’s distinctive graphic novel style.
 
Alice is back in Wonderland. Here she meets the White Rabbit, who leads her down into his rabbit hole in search of an illustrated edition of H. C. Artmann’s Frankenstein in Sussex. Over the course of the novel, Alice repeatedly runs into the Rabbit, who quotes freely from other literary works by the likes of Herman Melville and E. M. Cioran.
 
Unlike in Lewis Carroll’s classic, Alice is not traveling the Wonderland we know. Rather, in Nicolas Mahler’s whimsical graphic novel retelling, she is in a house deep beneath the ground. On subsequent floors, she encounters the famous creations of Lewis Carroll: the Hookah-Smoking Caterpillar, the Cheshire Cat, the Mock Turtle, and many others. One after the other, these creatures address the terrors of childhood and youth. It is only when Alice reaches the ground floor of the house that we arrive at the inevitable climax: face to face with Frankenstein’s Monster.

An outspoken memoir by a much-celebrated Indian filmmaker.
 
“I am a filmmaker by accident and an author by compulsion,” claims Mrinal Sen, who became part of the great triumvirate of Bengali cinema—along with Satyajit Ray and Ritwik Ghatak—in the 1950s and ’60s when he founded the rebellious Indian New Wave. Throughout his career, he kept that fire of protest burning, his acute political awareness and left-wing orientation spurring his creativity. Over decades, the themes that pervaded his cinema mirrored the spectrum of human suffering and experience, and in turn crystallized the anger of a restive mind against social injustice, economic deprivation, and communal divide. In this memoir, a celebrated ambassador of Indian cinema on the global stage, for whom cinema became a lexicon that gave voice to the times, reflects on encounters with the legends of the world of images as well as his inspirations and obsessions—not least among them, the city of Calcutta. Always Being Born is a fascinating memoir of a great artist and a buoyant social commentator who continued to confront, fight, and survive on the very challenges that propelled him to look beyond and dream.
 

A poetically written and bitterly sweet memoir about nature, death, life in Palestine, and the universal concept of home.

Palestinian writer Hussein Barghouthi was in his late forties when he was diagnosed with lymphoma. He had feared it was HIV, so when the cancer diagnosis was confirmed, he left the hospital feeling a bitter joy because his wife and son would be spared. The bittersweetness of this reaction characterizes the alternating moods of narration and reflection that distinguish this meditative memoir, Among the Almond Trees.
 
Barghouthi’s way of dealing with finality is to return to memories of childhood in the village of his birth in central Palestine, where the house in which he grew up is surrounded by almond and fig orchards. He takes many healing walks in the moonlit shadows of the trees, where he observes curious foxes, dancing gazelles, a badger with an unearthly cry, a weasel, and a wild boar with its young—a return not only to the house but to nature itself. The author decides to build a house where he would live with his wife and son, in whom he sees a renewal of life. The realization of his impending death also urges him to vocalize this experience, and he relates the progress of the disease at infrequent intervals. And, ultimately, he details the imaginative possibility of a return to life—to the earth, where he would be buried among the almond trees.

An experiment with the sonnet form by one of the foremost French poets of his generation.

Yves Bonnefoy has wowed the literary world for decades with his diffuse volumes. First published in France in 2008, The Anchor’s Long Chain is an indispensable addition to his oeuvre. Enriching Bonnefoy’s earlier work, the volume, translated by Beverley Bie Brahic, also innovates, including an unprecedented sequence of nineteen sonnets. These sonnets combine the strictness of the form with the freedom to vary line length and create evocative fragments. Compressed, emotionally powerful, and allusive, the poems are also autobiographical—but only in glimpses. Throughout, Bonnefoy conjures up life’s eternal questions with each new poem.

Longer, discursive pieces, including the title poem’s meditation on a prehistoric stone circle and a legend about a ship, are also part of this volume, as are a number of poetic prose pieces in which Bonnefoy, like several of his great French predecessors, excels. Long-time fans will find much to praise here, while newer readers will quickly find themselves under the spell of Bonnefoy’s powerful, discursive poetry.
 

Three short story collections that sink into the lives of characters seeking meaning in a post-war world, available in a boxed set.
 
Sharp as a razor and as subtle as gossamer, Shmuel T. Meyer’s masterfully crafted stories evoke unique individual sensibilities and destinies, resonating with the sensual details, smells, tastes, music, and sounds of a specific time and place. And the War Is Over brings together three collections of short stories set on three continents in the aftermath of war: World War II and the Shoah in Grand European Express, the Korean War in The Great American Disaster, and the Arab-Israeli conflict in Kibbutz.
 
Characters both real and imagined run through a fabric so tightly woven that the threads of history and fiction can barely be separated: the Roman poet Clara who will never write again; Saul, a New York City police detective haunted by memories of the Pusan Perimeter; a brother out to avenge his sister’s murder; the son of a former Nazi who joins the Red Army Faction. Tracing moments of encounter, their paths cross those of Allen Ginsberg, Albert Cossery, John Coltrane, and Duke Ellington. Characters travel by train from Venice to Paris, hike up the Val d’Annivers, listen to jazz in Greenwich Village, and ride a motorcycle along the sandy road to Haifa. Under the shadow of war, with death lurking, these multifaceted, evocative lives move in a space between coincidence and fate.

 

The first and exhaustive biography of twentieth-century leftist philosopher André Gorz.
 
Recognized as one of the most lucid and innovative critics of contemporary capitalism, André Gorz (1923–2007) was known for asking fundamental questions regarding the meaning of life and work. This first biography of a unique figure operating at the confluence of literature, philosophy, and journalism revisits half a century of intellectual and political life.
 
Born Gerhart Hirsch in Vienna, he studied in Switzerland before opting to live and work in France. A self-taught existentialist thinker, he was constantly revising his view of the world, unafraid to break new theoretical ground in doing so. Influenced by Marx, Husserl, Sartre, and Illich, he had very close affinities with the new thinking on the Left that was coming out of Italy in the 1960s and 70s. He was also one of the first thinkers to shape political ecology and to advocate de-growth. The intellectual on the editorial board of Sartre’s journal Les Temps Modernes, Gorz was also a mainstream journalist. He wrote in L’Express under the sobriquet Michel Bosquet before joining others in the creation of Le Nouvel Observateur.
 
Through Gorz’s life journey, we meet not only Sartre and de Beauvoir, but also Herbert Marcuse, Fidel Castro, Daniel Cohn-Bendit, Ivan Illich, Félix Guattari, Antonio Negri, and many others. Beyond his poignant autobiographical narratives, The Traitor and Letter to D, which attest to his deep humanity, Gorz remains a precious guide for all who believe that another world is still possible.

A collection of unique, profound, and witty stories that relate animals’ peculiarities to human attitudes.

Animals is a collection of short stories in which each story takes a peculiar item about animals that appears, like fables, to shine a spotlight on different aspects of human behavior—like caterpillars digging their own graves, sharks in need of artificial respiration, ducks that keep an eye out for hungry predators even in their sleep. It is a treat to watch Eva Menasse spin these observations into scenes of people battling their everyday anxieties and doubts. An old tyrant realizes that he is unable to prevent his wife’s worsening dementia from erasing his own past as it erases hers. A mother who tries to protect a Muslim child from hostile accusations finds that her own boundaries between good and evil begin to blur. A woman realizes how starkly her father’s traumatic past has shaped her quirky habits and deepest fears. Combining biting wit, mystery, and melancholy, these tales are the work of a masterful storyteller.

From Sarajevo to Tunisia to Rome, these five plays trace the invisible scars of exile, where memory and identity are both a burden and a lifeline.

In Another Spring and Other Plays, Yasmine Beverly Rana crafts an intricate tapestry of survival and memory in the wake of war and displacement. Spanning years and continents, these five plays trace the intimate wounds of conflict as they echo through generations. In The Fallen and Another Spring, the ghosts of war haunt the living, forcing them to navigate love, loss, and the shifting landscapes of post-war existence. At the Barre and Icarus and Amina depict the power of art as both sanctuary and rebellion against the forces of migration and exile. The collection concludes with After Rome, where two childhood friends reunite on the eve of the 25th anniversary of the siege of Sarajevo, confronting the long shadows of history.

With poetic and unwavering dialogue, Rana’s plays display the universally resonant struggles of those shaped by war. Another Spring is not just a collection of plays—it is a reflection on resilience and how trauma and art become intertwined in the search for meaning.

A queer memoir that takes place at the messy intersection between gender and desire, challenging stereotypes and embracing the nuance of identity.

When Valentijn must undergo a mastectomy because of a gene defect, he makes the decision not to have implants and adopts an in-between gender identity that feels more natural. He shaves his head and discards his wardrobe of women’s clothes, even the perfect dress his mother was so fond of. But all of this causes friction: not only are Valentijn’s doctors stumped, but friends, family, and lovers too. His trans ex helps him feel more comfortable in his new guise—not a girl, not a boy, but an antiboy—while his boyfriend draws away from the relationship. Encircled by grief and loss, Valentijn searches for the ultimate freedom to be allowed to be himself and tries to rebuild the relationships with those around him.
 
A refined, poetic autobiographical essay about adopting a new and truer identity, Antiboy is poignant without ever being sentimental. Valentijn finds new emotional depth and complexity in his personal relationships, providing readers with a rich and empathetic reading experience. Antiboy goes beyond the author’s own journey, becoming a nuanced exploration of human connections amid transformation.

A book about bitter fates—both already known and yet to unfold—and the many kinds of organized machinery built to destroy people.

Alexander Kluge’s work has long grappled with the Third Reich and its aftermath, and the extermination of the Jews forms its gravitational center. Kluge is forever reminding us to keep our present catastrophes in perspective—“calibrated”—against this historical monstrosity. Kluge’s newest work is a book about bitter fates, both already known and yet to unfold. Above all, it is about the many kinds of organized machinery built to destroy people. These forty-eight stories of justice and injustice are dedicated to the memory of Fritz Bauer, a determined fighter for justice and district attorney of Hesse during the Auschwitz Trials. “The moment they come into existence, monstrous crimes have a unique ability,” Bauer once said, “to ensure their own repetition.” Kluge takes heed, and in these pages reminds us of the importance of keeping our powers of observation and memory razor sharp.
 

Set against the backdrop of escalating environmental collapse, this novel is a timely exploration of the terrifying consequences of climate change—particularly wildfires.

A feverish and unsettling meditation on climate collapse, Arson is told through the fragmented perspectives of two individuals struggling to make sense of a world consumed by fire. An unnamed narrator, a writer plagued by anxiety and writer’s block, watches as the planet, her relationships, and even her ability to dream are ravaged by environmental disaster. Meanwhile, an insomniac scientist, obsessed with tracking wildfires, clings to data as his last grip on control, meticulously recording every flame that devours the forests.

Their narratives unfold in a disorienting rhythm—one slipping between lyrical introspection and panic, the other drowning in statistics and methodical observation. As fires rage across the planet, both search for meaning and survival: the narrator wanders the charred countryside in search of life amid destruction, while the scientist compulsively documents landscapes that should never be burning. Echoing Ingeborg Bachmann’s famous words, “With my burned hand I write about the nature of fire,” Laura Freudenthaler crafts a haunting, kaleidoscopic portrait of a world on the brink. Arson is not just a novel about climate change—it is an urgent, dreamlike reckoning with our fascination and horror at the beauty and devastation wrought by fire.

An engaging exploration of the meaning and power of art that looks at popular theories through the ages.
 
One of the most astonishing aspects of the discourse on contemporary art is the firm and unwavering belief that art has the power to transform society for the better. There seems to be a consensus around the idea that art, especially visual art, is greatly suited to addressing all manner of social, political, economic, ecological, and other imbalances. Celebrated as a powerful remedy for social grievances, art finds its justification in the service it seems to provide to society.
 
But as art historian Leonhard Emmerling contends in this timely volume, this presumptuous heroism shows willful blindness towards art’s subjugation to contradictions inherent in social relations. He argues that the narrative of the power of art has its specific history. In trying to reconstruct this history in Art of Diremption, he discovers instead art’s fundamental powerlessness as the foundation for art’s political relevance. Art is weak, argues Emmerling. It, therefore, requires an ethics of weakness, which rejects the discourse of impact and power to enable a politics of art containing the permanence of reflection, the unreliability of thought, and the emergence of form as the event of the new. With a meticulously studied and well-argued case about the “powerlessness of art,” Art of Diremption will be an important contribution to the field of art, aesthetics, and philosophy.

Reveals a dark chapter in the Italian government’s colonial history that has been largely hidden from view.
 
Between the end of the nineteenth century and over the first half of the twentieth, Italy invaded and occupied the Horn of Africa, Libya, and several other territories. Yet recognition of this history of colonial destruction, racist violence, and genocidal aerial and chemical warfare—carried out not only during the Fascist dictatorship but also under preceding liberal governments—has been consistently repressed beneath the myth that the Italians never truly practiced colonialism.
 
The late journalist, historian, novelist, campaigner, and former Resistance fighter Angelo Del Boca dismantles this myth. He expertly narrates episodes of state violence committed by Italians both abroad—from Ethiopia to Slovenia, from China to Libya—and “at home” during the civil war following Unification in the 1860s or when the anti-Fascist Resistance faced off against the Republic of Salò after 1943. Attentive to the losses and pain suffered by all sides in war, Del Boca deftly demonstrates how such violence was not only a tool of domination but has also been central to creating and shaping an Italian “people.”
 
Drawing on a lifetime of interviews as a special correspondent, decades of work in private and state archives, and his own experiences during the Second World War, Del Boca’s popular and influential work has contributed to overturning views of Italian history. Presenting many historical episodes in English for the first time, As Cruel as Anyone Else provides a key to reading contemporary Italy, its place in international politics, and the disturbing permanence of the far-right within mainstream Italian politics.
 

British satirist and cartoonist Martin Rowson’s acerbic chronicles of the evolution—or rather, regression—of politics in the last two decades.

 In 1997, on top of his regular visual contributions to the Tribune, Martin Rowson—the veteran mouthpiece of the Left of the British Labour Party—started writing a monthly column in the paper’s “As I Please” section, which was George Orwell’s slot fifty years earlier. Through his columns, Rowson chronicled the changing tides and tsunamis in the current political scene, documenting the rise of nationalism and the right-wing in these prescient musings. Over the next two decades, he pondered everything—the ideological battles inside Labour, the psychopathology of the Tory Party, the London Zoo, the British class system, Doctor Who, terrorism—and anything else that came to mind a day or so before the deadline.

Here, for the first time, a selection of these columns has been collected alongside Rowson’s other textual journalism, from tiny underground magazines in the United States to contributions to the Guardian, the Independent, and many other mainstream publications, on subjects ranging from the Charlie Hebdo massacre to his favorite books.

A hopeful, music-infused poetry collection from Congolese poet Alain Mabanckou.

These compelling poems by novelist and essayist Alain Mabanckou conjure nostalgia for an African childhood where the fauna, flora, sounds, and smells evoke snapshots of a life forever gone. Mabanckou’s poetry is frank and forthright, urging his compatriots to no longer be held hostage by the civil wars and political upheavals that have ravaged their country and to embrace a new era of self-determination where the village roosters can sing again.
 
These music-infused texts, beautifully translated by Nancy Naomi Carlson and supported by a grant from the National Endowment for the Arts, appear together in English for the first time. In these pages, Mabanckou pays tribute to his beloved mother, as well as to the regenerative power of nature, especially of trees, whose roots are a metaphor for the poet’s roots, anchored in the red earth of his birthplace. Mabanckou’s yearning for the land of his ancestors is even more poignant because he has been declared persona non grata in his homeland, now called Congo-Brazzaville, due to his biting criticism of the country’s regime. Despite these barriers, his poetry exudes hope that nature’s resilience will lead humankind on the path to redemption and reconciliation.

Poetic prose meditations translated superbly into English.
 
Austrian poet Friederike Mayröcker is widely considered one of the most important European poets of the twentieth and twenty-first centuries. The last book of hers to be published during her lifetime, as mornings and moosgreen I. Step to the window is an elliptical and, if at times cryptic, deeply personal, playful, and highly poetic collection of experiences, memories, dreams, desires, fears, visions, observations, and peregrinations through landscapes both real and imagined. The volume bears witness to her unique late lyrical style of pyrotechnical cut-up. Among many others, her beloved Derrida, Duchamp, Hölderlin, and Jean-Paul all appear, almost like guides, as Mayröcker bravely makes her way through infirmity, old age, and loneliness, prolonging her time as a prolific writer as much as possible.
 

A biography that unveils the iconic life, innovative choreography, and enduring legacy of Astad Deboo, a pioneer of Indian modern dance.
 
Astad Deboo (1947–2020), widely considered a pioneer of modern dance in India, was globally renowned for his distinctive style, characterized by meditative minimalism, gravity-defying backbends, and signature whirls which defined his innovative approach to form and content. In this first biography and book-length appreciation of Deboo’s work, Ketu H. Katrak unveils the remarkable life, choreography, and legacy of this groundbreaking figure in Indian modern dance. Through a comprehensive exploration, readers journey from Deboo's formative years in Jamshedpur and Bombay to his global endeavors that shaped his unique dance style.
 
Divided into four parts, this biography sheds light on various aspects of Deboo’s life and career: his youth, schooling, and the friendships that shaped him; his solo choreography, which boldly addressed social issues and fused modern dance with traditional elements; his humanitarian spirit, showcasing group choreography with deaf performers and Manipuri drum-dancers; and his mastery in collaborating with artists from India and abroad.
 
From receiving prestigious awards to transforming lives through dance, traveling around the world for over five decades yet being firmly rooted in Indian soil, Deboo left an indelible mark on contemporary Indian dance. Astad Deboo: An Icon of Contemporary Indian Dance pays homage to the dancer’s legendary status, emphasizing his unparalleled dedication and resilience—a guiding light for aspiring dancers striving to realize their artistic visions. It is a valuable addition to scholarship on dance studies, performance studies, and South Asian studies.
 

Dramatic sketches full of surprising, unpredictable twists and turns from a major twentieth-century German-language author.
 
A member of the Gruppe 47 writers’ group which sought to renew German-language literature after World War II, Ilse Aichinger (1921–2016) achieved great acclaim as a writer of fiction, poetry, prose, and radio drama. The vignettes in At No Time each begin in recognizable situations, often set in Vienna or other Austrian cities, but immediately swerve into bizarre encounters, supernatural or fantastical situations. Precisely drawn yet disturbingly skewed, they are both naturalistic and disjointed, like the finest surrealist paintings. Created to be experienced on the page or on the radio rather than the stage, they echo the magic realism of her short stories. Even though they frequently take a dark turn, they remain full of humor, agility, and poetic freedom.