Chesterton first published in 1905. Each story in the collection is centered on a person who is making his living by some novel and extraordinary means (a "queer trade").

    In this searing critique of Enlightenment values, fantastic themes are juxtaposed with brutal depictions of misogyny and violence, and frantically build to a fiery conclusion.Finally available to an English-speaking audience, Armonía Somers will resonate with readers of Clarice Lispector, Djuna Barnes, and Leonora Carrington.

    Italo Calvino once said about her, “I don’t know another writer who better captures the magic inside everyday rituals, the forbidden or hidden face that our mirrors don’t show us.” Thus Were Their Faces collects a wide range of Ocampo’s best short fiction and novella-length stories from her whole writing life. Stories about creepy doubles, a marble statue of a winged horse that speaks to a girl, a house of sugar that is the site of an eerie possession, children who lock their perverse mothers in a room and burn it, a lapdog who records the dreams of an old woman.Jorge Luis Borges wrote that the cruelty of Ocampo’s stories was the result of her nobility of soul, a judgment as paradoxical as much of her own writing. For her whole life Ocampo avoided the public eye, though since her death in 1993 her reputation has only continued to grow, like a magical forest. Dark, gothic, fantastic, and grotesque, these haunting stories are among the world’s finest.

    Macunaima, first published in Portuguese in 1928, and one of the masterworks of Brazilian literature, is a comic folkloric rhapsody (call it a novel if you really want) about the adventures of a popular hero whose fate is intended to define the national character of Brazil."Inventive, blessedly unsentimental," as Kirkus Reviews has it, and incorporating and interpreting the rich exotic myths and legends of Brazil, Macunaima traces the hero's quest for a magic charm, a gift from the gods, that he lost by transgressing the mores of his culture. Born in the heart of the darkness of the jungle, Macunaima is a complex of contradictory traits (he is, of course, "a hero without a character"), and can at will magically change his age, his race, his geographic location, to suit his purposes and overcome obstacles. Dramatizing aspects of Brazil in transition (multiracial, Indian versus European, rural versus urban life), Macunaima undergoes sometimes hilarious, sometimes grotesque transformations until his final annihilation and apotheosis as the Great Bear constellation in the heavens.

    Capt. Delano boards the San Dominick, providing needed supplies, and tries to learn from her aloof and disturbed captain, Benito Cereno, the story of how this ship came to be where she is. Dealing with racism, the slave trade, madness, the tension between representation and reality, and featuring at least one unreliable narrator, Melville's novella has both captivated and frustrated critics for decades.

    No one, that is, except unborn twins jostling for space in the womb. In this concise and inventive novel, a twin brother and sister vie for attention from the reader much as they competed for room before their birth. Their prenatal intimacy and jealousy interlace until they can hardly recognize who is who.. The Fourth World, first published in 1988, is her third novel. While other Chilean writers fled the military dictatorship that began in 1973, Eltit found no alternative but to join resistance groups and actively protest the government until democracy was restored in 1989. In the intervening years she learned the dual importance of concealment and discovery in language and the vital connections among story, politics, and personal survival.

    Multilingual and knowledgeable about many European countries, he was dispatched by the Secret Service to Lucerne - under the guise of completing a play. An assignment whose danger and drama appealed both to his sense of romance and of the ridiculous. A collection of stories rooted in Maugham's own experiences as an agent, reflecting the ruthlessness and brutality of espionage, its intrigue and treachery, as well as its absurdity.

    In their dreams, they catch glimpses of Estrella’s braids, hear echoes of her voice, and read old letters that eventually, mysteriously, stopped arriving. They recall regimented school assemblies, nationalistic class performances, and a trip to the beach. Soon it becomes clear that Estrella’s father was a ranking government officer implicated in the violent crimes of the Pinochet regime, and the question of what became of her after she left school haunts her erstwhile friends. Growing up, these friends―from her pen pal, Maldonado, to her crush, Zúñiga―were old enough to sense the danger and tension that surrounded them, but were powerless in the face of it. They could control only the stories they told one another and the “ghostly green bullets” they fired in the video game they played obsessively.One of the leading Latin American writers of her generation, Nona Fernández effortlessly builds a choral and constantly shifting image of young life in the waning years of the dictatorship. In her short but intricately layered novel, she summons the collective memory of a generation, rescuing felt truth from the oblivion of official history.

    And only a pataphysician nurtured lovingly on surrealist excess could have dreamed up The Blue Flowers, Queneau's 1964 novel, now reissued as a New Directions Paperbook. To a pataphysician all things are equal, there is no improvement or progress in the human condition, and a ‘message’ is an invention of the benighted reader, certainly not the author or his perplexing creations – the sweet, fennel-drinking Cidrolin, and the rampaging Duke d'Auge. History is mostly what the duke rampages through – 700 years of it at 175-year clips. He refuses to crusade, clobbers his king with the ‘in’ toy of 1439 – the cannon – dabbles in alchemy, and decides that those musty caves down at Altamira need a bit of sprucing up. Meanwhile, Cidrolin in the 1960s lolls on his barge moored along the Seine, sips essence of fennel, and ineffectually tries to catch the graffitist who nightly defiles his fence. But mostly he naps. Is it just a coincidence that the duke appears only when Cidrolin is dozing? And vice versa? In the tradition of Villon and Céline, Queneau attempted to bring the language of the French streets into common literary usage, and his mad word-plays, bad puns, bawdy jokes, and anachronistic wackiness have been kept amazingly and glitteringly intact by the incomparable translator Barbara Wright.

    In this novel, first published in 1960, can be traced the poetic vision, the themes and the designs of Harris's subsequent work, which included The Guyana Quartet.

    Pronounced ‘cheena’: designation for female, from the Quechua. Iron: The English word for Fierro, reference to the gaucho Martín Fierro, from José Hernández’s epic poem.) This is a riotous romp taking the reader from the turbulent frontier culture of the pampas deep into indigenous territories. It charts the adventures of Mrs China Iron, Martín Fierro’s abandoned wife, in her travels across the pampas in a covered wagon with her new-found friend, soon to become lover, a Scottish woman named Liz. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina’s richly diverse flora and fauna, cultures and languages, as well as to its national struggles. After a clash with Colonel Hernández (the author who ‘stole’ Martín Fierro’s poems) and a drunken orgy with gauchos, they eventually find refuge and a peaceful future in a utopian indigenous community, the river- dwelling Iñchiñ people. Seen from an ox-drawn wagon, the narrative moves through the Argentinian landscape, charting the flora and fauna of the Pampas, Gaucho culture, Argentinian nation-building and British colonial projects. In a unique reformulation of history and literary tradition, Gabriela Cabezón Cámara, with humour and sophistication, re-writes Martín Fierro from a feminist, LGBT, postcolonial point of view. She creates a hilarious novel that is nevertheless incisive in its criticism of the way societies come into being, and the way they venerate mythical heroes.

    With his traveling book wagon named Parnassus, he moves through the New England countryside of 1915 on an itinerant mission of enlightenment. Mifflin's delight in books and authors is infectious--with his singular philosophy and bright eyes, he comes to represent the heart and soul of the book world. But a certain spirited spinster, disgruntled with her life, may have a hand in changing all that. This roaring good adventure yarn is spiced with fiery roadside brawls, heroic escapes from death, the most groaning boards in the history of Yankee cookery, and a rare love story--not to mention a glimpse at a feminist perspective from the early 1900s.

    With Butcher’s Crossing, his fiercely intelligent, beautifully written western, Williams dismantles the myths of modern America.It is the 1870s, and Will Andrews, fired up by Emerson to seek “an original relation to nature,” drops out of Harvard and heads west. He washes up in Butcher’s Crossing, a small Kansas town on the outskirts of nowhere. Butcher’s Crossing is full of restless men looking for ways to make money and ways to waste it. Before long Andrews strikes up a friendship with one of them, a man who regales Andrews with tales of immense herds of buffalo, ready for the taking, hidden away in a beautiful valley deep in the Colorado Rockies. He convinces Andrews to join in an expedition to track the animals down. The journey out is grueling, but at the end is a place of paradisal richness. Once there, however, the three men abandon themselves to an orgy of slaughter, so caught up in killing buffalo that they lose all sense of time. Winter soon overtakes them: they are snowed in. Next spring, half-insane with cabin fever, cold, and hunger, they stagger back to Butcher’s Crossing to find a world as irremediably changed as they have been.

    Drawing on the intense emotional experiences of his youth, Proust tells the story of boyhood summers of strawberries and cream cheese, of garlands of pink blossom under branches of white may, of love and its lies, of political scandal and of his deep feeling for his parents.

    It is where the bitter opera of Cuban exile intersects with the cynicism of U.S. foreign policy. It is a city whose skyrocketing murder rate is fueled by the cocaine trade, racial discontent, and an undeclared war on the island ninety miles to the south. As Didion follows Miami's drift into a Third World capital, she also locates its position in the secret history of the Cold War, from the Bay of Pigs to the Reagan doctrine and from the Kennedy assassination to the Watergate break-in. Miami is not just a portrait of a city, but a masterly study of immigration and exile, passion, hypocrisy, and political violence.