The stories may appear in the form of letters of complaint; they may be extracted from Flaubert’s correspondence; or they may be inspired by the author’s own dreams, or the dreams of friends.What does not vary throughout Can’t and Won’t, Lydia Davis’s fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.

    Hacker Felipe Félix is summoned to the vertiginous twin towers of magnate Fausto Tamerlán and charged with finding the witnesses to a very public crime. Rejecting the mission is not an option. After a decade spent immersed in drugs and virtual realities, trying to forget the freezing trench in which he passed the Falklands War, Félix is forced to confront the city around him – and realises to his shock that the war never really ended.A detective novel, a cyber-thriller, an inner-city road trip and a war memoir, The Islands is a hilarious, devastating and dizzyingly surreal account of a history that remains all too raw.

    When he asks her how she obtained it, she reveals the remarkable story behind its origin... Imprisoned at Auschwitz, the notorious concentration camp, Daniel feels his humanity slipping away. Treasured memories of the young woman he loved and the prayers that once lingered on his lips become hazier with each passing day. Then a visit from a mysterious stranger changes everything, as Daniel’s former identity as a crafter of fine violins is revealed to all. The camp’s two most dangerous men use this information to make a cruel wager: If Daniel can build a successful violin within a certain number of days, the Kommandant wins a case of the finest burgundy. If not, the camp doctor, a torturer, gets hold of Daniel. And so, battling exhaustion, Daniel tries to recapture his lost art, knowing all too well the likely cost of failure.Written with lyrical simplicity and haunting beauty—and interspersed with chilling, actual Nazi documentation—The Violin of Auschwitz is more than just a novel: It is a testament to the strength of the human spirit and the power of beauty, art, and hope to triumph over the darkest adversity.

    D. Salinger, Bartleby Co. could be described as a meditation: a walking tour through the annals of literature. Written as a series of footnotes (a non-work itself), Bartleby embarks on such questions as why do we write, why do we exist? The answer lies in the novel itself: told from the point of view of a hermetic hunchback who has no luck with women, and is himself unable to write, Bartleby is an utterly engaging work of profound and philosophical beauty.

    A sweeping saga, it tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted, fragile pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, a love of Russian literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. An artist is chased into the woods, where he remains in hiding for four years; a researcher is forced to deem a patient insane, damning him to torture in a psychiatric ward; a man and his wife each become collaborators, without the other knowing. Ludmila Ulitskaya’s big yet intimate novel belongs to the tradition of Dostoyevsky, Tolstoy, and Pasternak: a work of politics, love, and belief that is a revelation of life in dark times.

    Not all of them return – and those who do will never be the same. Among them is the daredevil Laurids Madsen, who promptly escapes again into the anonymity of the high seas.As soon as he is old enough, his son Albert sets off in search of his missing father on a voyage that will take him to the furthest reaches of the globe and into the clutches of the most nefarious company. Bearing a mysterious shrunken head, and plagued by premonitions of bloodshed, he returns to a town increasingly run by women – among them a widow intent on liberating all men from the tyranny of the sea.From the barren rocks of Newfoundland to the lush plantations of Samoa, from the roughest bars in Tasmania, to the frozen coasts of northern Russia, We, The Drowned spans four generations, two world wars and a hundred years. Carsten Jensen conjures a wise, humorous, thrilling story of fathers and sons, of the women they love and leave behind, and of the sea’s murderous promise. This is a novel destined to take its place among the greatest seafaring literature.

    The art world’s grande dame and its shameless old lady, spinning personal history into works of profound strangeness, speaks with her characteristic insolence and wit, through a most discreet, masterful writer. From her childhood in France to her exile and adult life in America, to her death, this phosphorescent novella describes Bourgeois’s inner life as only one artist regarding another can.        Included as an afterword is Frémon’s essay about his own “portrait writing” and how he came to know and work with Louise Bourgeois.

    Selected by a team of poets and prominent Neruda scholars in both Chile and the United States, this is a definitive selection that draws from the entire breadth and width of Neruda’s various styles and themes. An impressive group of translators that includes Alaistair Reid, Stephen Mitchell, Robert Hass, Stephen Kessler and Jack Hirschman have come together to revisit or completely retranslate the poems. A bilingual edition, with English on one side of the page, the original Spanish on the other. This selection sets the standard for a general, high--quality introduction to Neruda’s complete oeuvre. Pablo Neruda was born in Chile in 1904. He received the Nobel Prize for Literature in 1971.

    He was arrested, interrogated and imprisoned by the communists, and watched illiterate Taliban soldiers burn piles of his books in the street. He even resorted to hiding most of his stock—almost ten thousand books—in attics all over Kabul.But while Khan is passionate in his love of books and his hatred of censorship, he also has strict views on family life and the role of women. As an outsider, Åsne Seierstad found herself in a unique position, able to move freely between the private, restricted sphere of the women—including Khan’s two wives—and the freer, more public lives of the men.It is an experience that Seierstad finds both fascinating and frustrating. As she steps back from the page and allows the Khans to speak for themselves, we learn of proposals and marriages, hope and fear, crime and punishment. The result is a genuinely gripping and moving portrait of a family, and a clear-eyed assessment of a country struggling to free itself from history.' to 'This mesmerizing portrait of a proud man who, through three decades and successive repressive regimes, heroically braved persecution to bring books to the people of Kabul has elicited extraordinary praise throughout the world and become a phenomenal international bestseller. The Bookseller of Kabul is startling in its intimacy and its details—a revelation of the plight of Afghan women and a window into the surprising realities of daily life in today’s Afghanistan.'

    After a lifetime, her only real accomplishment is her longevity: everyone she reads about in the obituaries has died younger than she is now. Afraid that her life will be over before anyone knows that she lived, Mathea digs out her old wedding dress, bakes some sweet cakes, and heads out into the world—to make her mark. She buries a time capsule out in the yard. (It gets dug up to make room for a flagpole.) She wears her late husband’s watch and hopes people will ask her for the time. (They never do.) Is it really possible for a woman to disappear so completely that the world won’t notice her passing? The Faster I Walk, the Smaller I Am is a macabre twist on the notion that life “must be lived to the fullest.”

    His long suffering widow Dona Flor devotes herself to her cooking school and her friends, who urge her to remarry. She is soon drawn to a kind pharmacist who is everything Vadinho was not, and is altogether happy to marry him. But after her wedding she finds herself dreaming about her first husband’s amorous attentions; and one evening Vadinho himself appears by her bed, as lusty as ever, to claim his marital rights.

    Their desire to lead a genuine existence forces them to confront difficult decisions, and to break out of comfortable routines.Karl and Marina have been together for ten years and have a young son, Simón. Karl is a German-born oboist at Argentina’s national orchestra, and Marina is a meteorologist. On a field trip, she meets fellow researcher Zárate, and what might have been just a fling starts to erode the foundations of her marriage. Then there is Amer, a dynamic and successful taxidermist. At a group therapy session for smokers, Amer falls for the younger Clara. While the relationship between Karl and Marina disintegrates, the love story between Amer and Clara is just beginning – or is it already at an end? One of Argentina’s leading contemporary writers, Jorge Consiglio portrays the inner worlds of these characters through the minute details of their everyday lives, laying bare their strivings and their frustrations with a wry gaze, and seeking in this close-up texture a deeper truth.

    Leo would spend the next five years in a coke processing plant, shoveling coal, lugging bricks, mixing mortar, and battling the relentless calculus of hunger that governed the labor colony: one shovel load of coal is worth one gram of bread.In her new novel, Nobel laureate Herta Müller calls upon her unique combination of poetic intensity and dispassionate precision to conjure the distorted world of the labor camp in all its physical and moral absurdity. She has given Leo the language to express the inexpressible, as hunger sharpens his senses into an acuity that is both hallucinatory and profound. In scene after disorienting scene, the most ordinary objects accrue tender poignancy as they acquire new purpose—a gramophone box serves as a suitcase, a handkerchief becomes a talisman, an enormous piece of casing pipe functions as a lovers' trysting place. The heart is reduced to a pump, the breath mechanized to the rhythm of a swinging shovel, and coal, sand, and snow have a will of their own. Hunger becomes an insatiable angel who haunts the camp day and night, but also a bare-knuckled sparring partner, delivering blows that keep Leo feeling the rawest connection to life.Müller has distilled Leo's struggle into words of breathtaking intensity that take us on a journey far beyond the Gulag and into the depths of one man's soul.

    Following years of lonely political exile in Western Europe, Ka, a middle-aged poet, returns to Istanbul to attend his mother's funeral. Only partly recognizing this place of his cultured, middle-class youth, he is even more disoriented by news of strange events in the wider country: a wave of suicides among girls forbidden to wear their head scarves at school. An apparent thaw of his writer's curiosity–a frozen sea these many years–leads him to Kars, a far-off town near the Russian border and the epicenter of the suicides. No sooner has he arrived, however, than we discover that Ka's motivations are not purely journalistic; for in Kars, once a province of Ottoman and then Russian glory, now a cultural gray-zone of poverty and paralysis, there is also Ipek, a radiant friend of Ka's youth, lately divorced, whom he has never forgotten. As a snowstorm, the fiercest in memory, descends on the town and seals it off from the modern, westernized world that has always been Ka's frame of reference, he finds himself drawn in unexpected directions: not only headlong toward the unknowable Ipek and the desperate hope for love–or at least a wife–that she embodies, but also into the maelstrom of a military coup staged to restrain the local Islamist radicals, and even toward God, whose existence Ka has never before allowed himself to contemplate. In this surreal confluence of emotion and spectacle, Ka begins to tap his dormant creative powers, producing poem after poem in untimely, irresistible bursts of inspiration. But not until the snows have melted and the political violence has run its bloody course will Ka discover the fate of his bid to seize a last chance for happiness. Blending profound sympathy and mischievous wit, Snow illuminates the contradictions gripping the individual and collective heart in many parts of the Muslim world. But even more, by its narrative brilliance and comprehension of the needs and duties

    He has a criminal record, drinks too much, and his dream of becoming a writer is just a distant memory. With only the blossoming of the cherry trees to mark the passing of time, he spends his days in a tiny confectionery shop selling dorayaki, a type of pancake filled with sweet bean paste.But everything is about to change.Into his life comes Tokue, an elderly woman with disfigured hands and a troubled past. Tokue makes the best sweet bean paste Sentaro has ever tasted. She begins to teach him her craft, but as their friendship flourishes, social pressures become impossible to escape and Tokue's dark secret is revealed, with devastating consequences.Sweet Bean Paste is a moving novel about the burden of the past and the redemptive power of friendship. Translated into English for the first time, Durian Sukegawa's beautiful prose is capturing hearts all over the world.