Her work life is uneventful until trouble arises in the form of a predatory colleague.To forestall any disruption of business-as-usual, Jungle makes Yona a proposition: a paid "vacation" to the desert island of Mui. But Yona must pose as a tourist and assess whether Jungle should continue their partnership with the unprofitable destination.Yona travels to the remote island, whose major attraction is an underwhelming sinkhole, a huge disappointment to the customers who've paid a premium. Soon Yona discovers the resort's plan to fabricate a catastrophe in the interest of regaining their good standing with Jungle--and the manager enlists Yona's help. Yona must choose between the callous company to whom she's dedicated her life, or the possibility of a fresh start in a powerful new position. As she begins to understand the cost of the manufactured disaster, Yona realizes that the lives of Mui's citizens are in danger--and so is she.In The Disaster Tourist, Korean author Yun Ko-eun grapples with the consequences of our fascination with disaster, and questions an individual's culpability in the harm done by their industry.

    The novel is narrated in first-person streams of thought by a sharp-tongued poet with an irreverently honest voice. She is visiting professor of Slavic studies at Harvard and her exposure to American values and behaviors conspires with her yearning to break free from Ukrainian conventions. In her despair over a recently ended affair, she turns her attention to the details of her lover’s abusive behavior. In detailing the power her Ukrainian lover wielded over her, and in admitting the underlying reasons for her attraction to him, she begins to see the chains that have defined her as a Ukrainian woman – and in doing so, exposes and calls into question her country’s culture of fear and repression at the very time that it wrestled its way toward independence.“Oksana Zabuzhko is a well-known Ukrainian poet of the younger generation as well as a literary critic and translator. Fieldwork in Ukrainian Sex, her debut in the genre of the novel, marks the emergence of a powerful new voice in Ukrainian belles-lettres. This work immediately strikes the reader with its novelty of form and with the original way it presents eternal issues like love, life, and creativity, intertwining them with uniquely Ukrainian themes.” — Slavic and East European Journal“Language — any language — that’s what I would call the capital love of my life: nothing else has the power to synthesize music and myth, two things without which the world would be a totally unlivable place.” — Oksana ZabuzhkoFieldwork in Ukrainian Sex was first published in Ukraine in 1996, unleashing a storm of controversy and propelling the author to national fame. It topped the bestseller list in Ukraine for more than ten years, making it the most successful Ukrainian-language book of the nineties in every regard. Today, Oksana Zabuzhko is one of the few authors in Ukraine (and the only Ukrainian-language writer) to make a living exclusively from her writing.

    Desperate, at times almost mad, but also keenly empathic, Korim has discovered in a small Hungarian town’s archives an antique manuscript of startling beauty: it narrates the epic tale of brothers-in-arms struggling to return home from a disastrous war. Korim is determined to do away with himself, but before he can commit suicide, he strongly feels he must escape to New York with the precious manuscript and commit it to eternity by typing it all up on the world-wide web. Following Korim with obsessive realism through the streets of New York (from his landing in a Bowery flophouse to his moving far uptown with a mad interpreter), War & War relates his encounters with a fascinating range of humanity, a world torn between viciousness and mysterious beauty. Following the eight chapters of War & War is a short "prequel acting as a sequel," "Isaiah," which brings us to a dark bar, years before in Hungary, where Korim rants against the world and threatens suicide. Simply written like nothing else (turning single sentences into chapters), War & War affirms W. G. Sebald’s comment that Krasznahorkai’s prose "far surpasses all the lesser concerns of contemporary writing."

    She worked as a housekeeper, a caregiver, a cleaner—somehow always taking care of someone else. Two generations later, during the Women’s March in 2018, Alicia was working at the snack shop in the Atocha train station when it overflowed with protesters and strikers. Women, so many women, were flooding the streets with their signs and chants. She couldn’t have known María was among them; she was on the clock. And later, she’d be looking for someone else, a man to take her away for a few hours, to make her forget. Anyone but her husband, with his pleas to go on bike rides together, to have children, to act like the other thirtysomething couples they knew.  Medel’s lyrical sensibility reveals her roots as a poet, but her fast-paced and expansive storytelling show she’s a novelist ahead of her time. With grit, texture, and mesmerizing prose, The Wonders launches an inimitable new voice in fiction.

    Teresa Mendoza is his girlfriend, a typical narco's morra-- quiet, doting, submissive. But then Guero's caught playing both sides, and in Sinaloa, that means death. Teresa finds herself alone, terrified, friendless and running to save her life, carrying nothing but a gym bag containing a pistol and a notebook that she has been forbidden to read. Forced to leave Mexico, she flees to the Spanish city of Melilla, where she meets Santiago Fisterra, a Galician involved in trafficking hashish across the Strait of Gibraltar. When Santiago's partner is captured, it is Teresa who steps in to take his place. Now Teresa has plunged into the dark and ugly world that once claimed Guero's life-- and she's about to get in deeper...

    The resulting novel, The Artificial Silk Girl, became an acclaimed bestseller and a masterwork of German literature, in the tradition of Christopher Isherwood's 'Berlin Stories' and Bertolt Brecht's 'Three Penny Opera'. Like Isherwood and Brecht, Keun revealed the dark underside of Berlin's "golden twenties" with empathy and honesty. Unfortunately, a Nazi censorship board banned Keun's work in 1933, and destroyed all existing copies of The Artificial Silk Girl. Only one English translation was ever published, in Great Britain, before the book disappeared in the chaos of the ensuing war. Today, more than seven decades later, the story of this quintessential "material girl" remains as relevant as ever, as an accessible new translation brings this lost classic to light once more. Other Press is pleased to announce the republication of The Artificial Silk Girl, elegantly translated by noted Germanist Kathie von Ankum, and featuring a new introduction by Harvard professor Maria Tatar.

    if indeed there were crimes.The youngest of forty - a child with no name and no past - she survives for some purpose long forgotten in a world ravaged and wasted. In this reality where intimacy is forbidden - in the unrelenting sameness of the artificial days and nights - she knows nothing of books and time, of needs and feelings.Then everything changes... and nothing changes.A young woman who has never known men - a child who knows of no history before the bars and restraints - must now reinvent herself, piece by piece, in a place she has never been... and in the face of the most challenging and terrifying of unknowns: freedom.

    No one knows when or why this came to be. It is simply how things are, and no one appears to question or contradict this spatial disposition. The room is kept ordered and clean, and nobody is allowed to use it. It is solely for him, the president. But what if he never comes? Everything is kept vague, so vague that we begin to wonder if even the narrator can be trusted...Compared to Kafka and Calvino, Ricardo Romero brings us a novel that narrates eeriness, perhaps a metaphor, from the point of view of a shy boy who seems to be very good at lying about the truth. Following in the steps of Julio Cortázar and of a certain literary tradition of sinister rooms –where Dr Jekyll became Mr Hyde, for instance–, The President’s Room is a mysterious tale based on the metaphysical hypothesis that each house is never just one single home.

    Parable, paradox, anecdote, dream, and autobiography blend into an exuberant world view and affirmation of human possibility.

    Recalling the works of W. G. Sebald, Bruce Chatwin, and Rebecca Solnit, An Inventory of Losses is a beautiful evocation of twelve specific treasures that have been lost to the world forever, and that, taken as a whole, open mesmerizing new vistas of how to think about extinction and loss.With meticulous research and a vivid awareness of why we should care about these losses, Judith Schalansky, the acclaimed author of Atlas of Remote Islands, lets these objects speak for themselves: she ventriloquizes the tone of other sources, burrows into the language of contemporaneous accounts, and deeply interrogates the very notion of memory.

    Its teachers offer pupils lessons in violence, abuse and neglect. Lela is old enough to leave but has nowhere else to go. She stays and plans for the children's escape, for the future she hopes to give to Irakli, a young boy in the home. When an American couple visits, offering the prospect of a new life, Lela decides she must do everything she can to give Irakli this chance.

    Charismatic and handsome, Hilmi is a talented young artist from Palestine. Liat, an aspiring translation student, plans to return to Israel the following summer. Despite knowing that their love can be only temporary, that it can exist only away from their conflicted homeland, Liat lets herself be enraptured by Hilmi: by his lively imagination, by his beautiful hands and wise eyes, by his sweetness and devotion.Together they explore the city, sharing laughs and fantasies and pangs of homesickness. But the unfettered joy they awaken in each other cannot overcome the guilt Liat feels for hiding him from her family in Israel and her Jewish friends in New York. As her departure date looms and her love for Hilmi deepens, Liat must decide whether she is willing to risk alienating her family, her community, and her sense of self for the love of one man.Banned from classrooms by Israel’s Ministry of Education, Dorit Rabinyan’s remarkable novel contains multitudes. A bold portrayal of the strains—and delights—of a forbidden relationship, All the Rivers (published in Israel as Borderline) is a love story and a war story, a New York story and a Middle East story, an unflinching foray into the forces that bind us and divide us. “The land is the same land,” Hilmi reminds Liat. “In the end all the rivers flow into the same sea.”

    As he revisits the details of the investigation, he is reacquainted with his similarly long, unrequited love for Irene Hornos, then just an intern, now a respected judge. Absorbing and masterfully crafted, The Secret in Their Eyes is a meditation on the effects of the passage of time and unfulfilled desire.Eduardo Sacheri’s tale is imbued with the subdued terror that characterized the Dirty War of 1970s Argentina, and was made into the Academy Award winning film of the same name in 2009.

    In a single day, a man is guillotined for preaching the intellectual pleasures of sex; an ostrich in a zoo, reversing roles, devours a lion; and a man, while urinating, goes bungee jumping through time itself—and manages to escape. Or does he? Witness the weird machinery of Yesterday, where the Chilean master Juan Emar deploys irony, digression, and giddy repetitions to ratchet up narrative tension again and again and again, in this thrilling whirlwind of the ecstatically unexpected—all wed to the happiest marriage of any novel, ever.Born in Chile at the tail end of the nineteenth century, Juan Emar was largely overlooked during his lifetime, and lived in self-imposed exile from the literary circles of his day. A cult of Emarians, however, always persisted, and after several rediscoveries in the Spanish-speaking world, he is finally getting his international due with the English-language debut of Yesterday, deftly translated by Megan McDowell. Emar’s work offers unique and delirious pleasures, and will be an epiphany to anglophone readers.