Asian American Studies. Is there a relationship between the population density of Tokyo and the pinkest part of a hamburger? Can one touch the inside of a noun to learn the difference between one bicycle and a field of bicycles? How close is yellow to need? How far are human fears from the fears of insects? Through a sequence of prose investigations, directions, theoretical performances, and character sketches, Sawako Nakayasu's TEXTURE NOTES presses itself against everything. Here is a book of liminal cartography, where textures are percolated by thought and propelled by feeling, where intellectual frottage meets sunlight, moonlight, the pain of seeing something beautiful and an entire town enamored by a simple rock. Once again, Nakayasu's writing explodes with genre-bending fury and fine-tuned improvisation, leaving in its wake a largess of feeling for the things of the world.

    In one narrative, a man wakes up one morning to find the odor of dead fish won't go away, but no one else can smell it. In another, a couple's visit with friends to watch the Academy Awards has the protagonist envying his friends' lawn and lifestyle. In these and eleven other stories, Christopher Meeks balances tragedy and wit. As novelist David Scott Milton explains, "In this collection, Christopher Meeks examines the small heartbreaks of quiet despair that are so much a part of all our lives. He does it in language that is resonant, poetic, and precise.... If you like Raymond Carver, you'll love Meeks. He may be as good--or better."

    In them we find loneliness, love, and the passage of time, demonstrating the range and complexity of a true master of short fiction.

    Yet the spirited young beauty only has eyes for Rafael Alfandari, the handsome Jewish son of an esteemed court physician. In defiance of their families, they marry, fleeing to Paris to build a new life.But when the Nazis invade France and begin rounding up Jews, the exiled lovers will learn that nothing—not war, not politics, not even religion—can break the bonds of family. For after they learn that Selva is but one of their fellow citizens trapped in France, a handful of brave Turkish diplomats hatch a plan to spirit the Alfandaris and hundreds of innocents, many of whom are Jewish, to safety. Together, they must traverse a war-torn continent, crossing enemy lines and risking everything in a desperate bid for freedom. From Ankara to Paris, Cairo, and Berlin, Last Train to Istanbul is an uplifting tale of love and adventure.

    Award-winning Japanese author Shion Miura’s novel is a reminder that a life dedicated to passion is a life well lived.Inspired as a boy by the multiple meanings to be found for a single word in the dictionary, Kohei Araki is devoted to the notion that a dictionary is a boat to carry us across the sea of words. But after thirty-seven years creating them at Gembu Books, it’s time for him to retire and find his replacement.He discovers a kindred spirit in Mitsuya Majime—a young, disheveled square peg with a penchant for collecting antiquarian books and a background in linguistics—whom he swipes from his company’s sales department.Led by his new mentor and joined by an energetic, if reluctant, new recruit and an elder linguistics scholar, Majime is tasked with a career-defining accomplishment: completing The Great Passage, a comprehensive 2,900-page tome of the Japanese language. On his journey, Majime discovers friendship, romance, and an incredible dedication to his work, inspired by the bond that connects us all: words.

    An Armenian Sketchbook, however, shows us a very different Grossman, notable for his tenderness, warmth, and sense of fun.       After the  Soviet Government confiscated—or, as Grossman always put it, “arrested”—Life and Fate, he took on the task of revising a literal Russian translation of a long Armenian novel. The novel was of little interest to him, but he needed money and was evidently glad of an excuse to travel to Armenia. An Armenian Sketchbook is his account of the two months he spent there.       This is by far the most personal and intimate of Grossman’s works, endowed with an air of absolute spontaneity, as though he is simply chatting to the reader about his impressions of Armenia—its mountains, its ancient churches, its people—while also examining his own thoughts and moods. A wonderfully human account of travel to a faraway place, An Armenian Sketchbook also has the vivid appeal of a self-portrait.

    The source of this enmity was the Armenian genocide of 1915 at the hands of the Ottoman Turkish government, and Turkey's refusal to acknowledge it. A century onward, Armenian and Turkish lobbies spend hundreds of millions of dollars to convince governments, courts and scholars of their clashing versions of history.Frustrated by her community's all-consuming campaigns for genocide recognition, Toumani leaves a promising job at The New York Times and moves to Istanbul. Instead of demonizing Turks, she sets out to understand them, and in a series of extraordinary encounters over the course of four years, she tries to talk about the Armenian issue, finding her way into conversations that are taboo and sometimes illegal. Along the way, we get a snapshot of Turkish society in the throes of change, and an intimate portrait of a writer coming to terms with the issues that drove her halfway across the world.In this far-reaching quest, told with eloquence and power, Toumani probes universal questions: how to belong to a community without conforming to it, how to acknowledge a tragedy without exploiting it, and most importantly how to remember a genocide without perpetuating the kind of hatred that gave rise to it in the first place.

    Although Armenians and world opinion have held the Ottoman powers responsible, Turkey has consistently rejected any claim of intentional genocide. Now, in a pioneering work of excavation, Turkish historian Taner Akçam has made extensive and unprecedented use of Ottoman and other sources to produce a scrupulous charge sheet against the Turkish authorities. The first scholar of any nationality to have mined the significant evidence--in Turkish military and court records, parliamentary minutes, letters, and eyewitness accounts--Akçam follows the chain of events leading up to the killing and then reconstructs its systematic orchestration by coordinated departments of the Ottoman state, the ruling political parties, and the military. He also probes the crucial question of how Turkey succeeded in evading responsibility, pointing to competing international interests in the region, the priorities of Turkish nationalists, and the international community's inadequate attempts to bring the perpetrators to justice. As Turkey lobbies to enter the European Union, Akçam's work becomes ever more important and relevant. Beyond its timeliness, A Shameful Act is sure to take its lasting place as a classic and necessary work on the subject.

    At the heart of Chang's achievement is her short fiction—tales of love, longing, and the shifting and endlessly treacherous shoals of family life. Written when Chang was still in her twenties, these extraordinary stories combine an unsettled, probing, utterly contemporary sensibility, keenly alert to sexual politics and psychological ambiguity, with an intense lyricism that echoes the classics of Chinese literature. Love in a Fallen City, the first collection in English of this dazzling body of work, introduces American readers to the stark and glamorous vision of a modern master.

    The manuscript was runner-up in the 2010 Caketrain Chapbook Competition, as judged by Deb Olin Unferth.

    It would be decades before her grandmother told her the truth: that she was by birth a Christian and an Armenian, that her name was not Seher but Heranush, that most of the men in her village had been slaughtered in 1915, that she, along with most of the women and children, had been sent on a death march. She had been saved (and torn from her mother’s arms) by the Turkish gendarme captain who went on to adopt her. But she knew she still had family in America. Could Fethiye help her find her lost relations before she died? There are an estimated two million Turks whose grandparents could tell them similar stories. But in a country that maintains the Armenian genocide never happened, such talk can be dangerous. In her heartwrenching memoir, Fethiye Cetin breaks the silence.

    Jobless and ashamed, he takes them into a stranger’s house, a place that will become the site of the greatest humiliation of his life. In an impoverished fishing town, four teenage boys try to allay their boredom during an endless summer by translating lyrics from the Smiths into Spanish using a stolen dictionary. Their dreams of fame and glory twist into a plan to steal musical instruments from a church, an obsession that prevents one of them from anticipating a devastating ending. Meanwhile a young woman goes home with a charismatic man after finding his daughter wandering lost in a public place. She soon discovers, like so many characters in this book, that fortuitous encounters can be deceptions in disguise.Themes of pride, shame, and disgrace—small and large, personal and public—tie the stories in this collection together. Humiliation becomes revelation as we watch Paulina Flores’s characters move from an age of innocence into a world of conflicting sensations.

    Screenwriter, director, and star of the acclaimed film Me and You and Everyone We Know, Miranda July brings her extraordinary talents to the page in a startling, sexy, and tender collection.

    It was the beginning of the Ottoman Turkish government’s systematic attempt to eliminate the Armenian people from Turkey; it was a campaign that continued through World War I and the fall of the Ottoman Empire, by which time more than a million Armenians had been annihilated and expunged from their historic homeland. For Grigoris Balakian, himself condemned, it was also the beginning of a four-year ordeal during which he would bear witness to a seemingly endless caravan of blood.Balakian sees his countrymen sent in carts, on donkeys, or on foot to face certain death in the desert of northern Syria. Many would not even survive the journey, suffering starvation, disease, mutilation, and rape, among other tortures, before being slaughtered en route. In these pages, he brings to life the words and deeds of survivors, foreign witnesses, and Turkish officials involved in the massacre process, and also of those few brave, righteous Turks, who, with some of their German allies working for the Baghdad Railway, resisted orders calling for the death of the Armenians. Miraculously, Balakian manages to escape, and his flight—through forest and over mountain, in disguise as a railroad worker and then as a German soldier—is a suspenseful, harrowing odyssey that makes possible his singular testimony.Full of shrewd insights into the political, historical, and cultural context of the Armenian genocide—the template for the subsequent mass killings that have cast a shadow across the twentieth century and beyond—this memoir is destined to become a classic of survivor literature. Armenian Golgotha is sure to deepen our understanding of a catastrophic crime that the Turkish government, the Ottomans’ successor, denies to this day.

    Described by "Publishers Weekly" as "easily Gilchrist's best book in years, " this collection of stories gives readers a taste of her gifted sense of the language and the humor of human foibles.