But nothing could have prepared him for the heartache he feels when he falls hopelessly in love with a Japanese girl named Sakurai. Immersed in their shared love for classical music and foreign movies, the two gradually grow closer and closer.One night, after being hit by personal tragedy, Sugihara reveals to Sakurai that he is not Japanese—as his name might indicate.Torn between a chance at self-discovery that he’s ready to seize and the prejudices of others that he can’t control, Sugihara must decide who he wants to be and where he wants to go next. Will Sakurai be able to confront her own bias and accompany him on his journey?

    But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind, the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom.

    One is black, one white. Both are successful women with impressive careers. Both have recently been widowed. And both are sworn enemies, sharing hedge and hostility which they prune with a zeal that belies the fact that they are both over eighty.But one day an unforeseen event forces the women together. And gradually the bickering and sniping softens into lively debate, and from there into memories shared. But could these sparks of connection ever transform into friendship? Or is it too late to expect these two to change?

    When Yoon receives a distressing phone call from her ex-boyfriend after eight years of separation, memories of a tumultuous youth begin to resurface, forcing her to re-live the most intense period of her life. With profound intellectual and emotional insight, she revisits the death of her beloved mother, the strong bond with her now-dying former college professor, the excitement of her first love, and the friendships forged out of a shared sense of isolation and grief.   Yoon’s formative experiences, which highlight both the fragility and force of personal connection in an era of absolute uncertainty, become immediately palpable. Shin makes the foreign and esoteric utterly familiar: her use of European literature as an interpreter of emotion and experience bridges any gaps between East and West. Love, friendship, and solitude are the same everywhere, as this book makes poignantly clear.

    Ebla, an orphan of eighteen, runs away from her nomadic encampment in rural Somalia when she discovers that her grandfather has promised her in marriage to an older man. But even after her escape to Mogadishu, she finds herself as powerless and dependent on men as she was out in the bush. As she is propelled through servitude, marriage, poverty, and violence, Ebla has to fight to retain her identity in a world where women are "sold like cattle."

    Now our hero is resident in a retirement home, where fending off boredom is far more gruelling than making tacos. Plagued by the literary salon that bumps about his building’s lobby and haunted by the self-pitying ghost of a neglected artist, Villalobos’s old man can’t help but misbehave. He antagonises his neighbours, tortures American missionaries with passages from Adorno, flirts with the revolutionary greengrocer, and in short does everything that can be done to fend off the boredom of retirement and old age . . . while still holding a beer. A delicious take-down of pretensions to cultural posterity, I’ll Sell You a Dog is a comic novel whose absurd inventions, scurrilous antics and oddball characters are vintage Villalobos.

    But when the old man falls sick and dies, Boga abandons himself entirely to the river and the life of solitary drifting he has long yearned for.Echoes of John Berger sound throughout the evocative prose of this great Argentian writer. A twentieth-century classic, Southeaster is a central work in Haroldo Conti’s oeuvre.

    But underneath the surface, she is bored--and consumed by an insatiable need for sex.Driven less by pleasure than compulsion, Adèle organizes her day around her extramarital affairs, arriving late to work and lying to her husband about where she's been, until she becomes ensnared in a trap of her own making. Suspenseful, erotic, and electrically charged, Adèle is a captivating exploration of addiction, sexuality, and one woman's quest to feel alive.

    When he arrives, the predecessor he is meant to replace is missing and a deeply disturbed stranger is barricaded in a heavily fortified lighthouse. At first adversaries, the two find that their tenuous partnership may be the only way they survive the unspeakably horrific reptilian creatures that ravage the island at night, attacking the lighthouse in their organized effort to find warm-blooded food. Armed with a battery of ammunition and explosives, the weather official and his new ally must confront their increasingly murderous mentality, and, when the possibility of a kind of truce presents itself, decide what kind of island they will inhabit. Equal parts Stephen King, a phantasmagorical Robinson Crusoe, and Lord of the Flies, Cold Skin is literary horror that deals with the basest forms of human behavior imaginable, while exploring why we so vehemently fear the Other.

    Ripley --that speaks to identity, war, exile, love, betrayal, and heartbreak. In the devastation of post-Communist Albania, inseparable young friends Bujar and Agim feel trapped: Bujar struggling to come to terms with the loss of his father, Agim facing dangerous realizations about his sexuality and his feelings for Bujar. When shame, guilt, and the ruins of authoritarianism push Bujar and Agim to leave everything behind and flee to Italy, the unfamiliar life of an immigrant and asylum seeker sets Bujar on a path of reinvention. He follows an impulse to remake himself--as a man or woman of infinite nationalities and pasts--the burning desire to be seen and heard spurring a desperate search for a different existence to be seized at any cost. But Bujar's quest for identity and belonging is haunted by the mystery of what happened to Agim--his one, true beloved, who somehow got lost along the way. Like Statovci's acclaimed debut, My Cat Yugoslavia, Crossing is a powerful and symbolic novel of both unending war and unattainable love, but most of all, of the lies that give stories a singular power.

    Everyone in Cape Verde knows Señor da Silva. Successful entrepreneur, owner of the island's first automobile, a most serious, upright, and self-made businessman, Señor da Silva is the local success story. Born an orphan, he never married, he never splurged; one good suit was good enough for him; and he never wandered from the straight and narrow. Or so everyone thought. But when Señor da Silva's 387-page Last Will and Testament is read aloud; a marathon task on a hot afternoon which exhausts reader after reader; there's eye-opening news, and not just for the smug nephew so certain of inheriting all Señor da Silva's property. With his will, Señor da Silva leaves a memoir that is a touching web of elaborate self-deceptions. He desired so ardently to prosper, to be taken seriously, to join (perhaps, if they'll have him) the exclusive Grémio country club, and, most of all, to be a good man. And yet, shady deals, twists of fate, an illegitimate child: such is the lot of poor, self-critical Señor da Silva. A bit like Calvino's Mr. Palomar in his attention to protocol and in his terror of life's passions; a bit like Svevo's Zeno (a little pompous, a little old-fashioned, and often hapless), Señor da Silva moves along a deliciously blurry line between farce and tragedy: a self-important buffoon becomes a fully human, even tragic, figure in the arc of this hilarious and touching novel - translated into Spanish, German, French, Italian, Dutch, Norwegian, Swedish, and now, at last, English.

    Soon they meet another vacationing German couple, Charly and Hanna, who introduce them to a band of locals—the Wolf, the Lamb, and El Quemado—and to the darker side of life in a resort town. Late one night, Charly disappears without a trace, and Udo’s well-ordered life is thrown into upheaval; while Ingeborg and Hanna return to their lives in Germany, he refuses to leave the hotel. Soon he and El Quemado are enmeshed in a round of Third Reich, Udo’s favorite World War II strategy game, and Udo discovers that the game’s consequences may be all too real. Written in 1989 and found among Roberto Bolaño’s papers after his death, The Third Reich is a stunning exploration of memory and violence. Reading this quick, visceral novel, we see a world-class writer coming into his own—and exploring for the first time the themes that would define his masterpieces The Savage Detectives and 2666.

    It’s essential reading.” —Joann Sfar, cartoonist of The Rabbi’s Cat Ivory Coast, 1978. It’s a golden time, and the nation, too—an oasis of affluence and stability in West Africa—seems fueled by something wondrous. Aya is loosely based upon Marguerite Abouet’s youth in Yop City. It is the story of the studious and clear-sighted nineteen-year-old Aya, her easygoing friends Adjoua and Bintou, and their meddling relatives and neighbors. It’s a wryly funny, breezy account of the simple pleasures and private troubles of everyday life in Yop City. Clément Oubrerie’s warm colors and energetic, playful line connect expressively with Marguerite Abouet’s vibrant writing. This reworked edition offers readers the chance to immerse themselves in Abouet’s Yop City, bringing together the first three volumes of the series in Book One. Drawn & Quarterly will release volumes four through six of the original French series (as yet unpublished in English) in Book Two. Aya is the winner of the Best First Album award at the Angoulême International Comics Festival, the Children’s Africana Book Award, and the Glyph Award; was nominated for the Quill Award, the YALSA’s Great Graphic Novels list, and the Eisner Award; and was included on “best of” lists from The Washington Post, Booklist, Publishers Weekly, and School Library Journal.

    A young writer uncertain of what he wants to say, the man moves through tableaus of life in one of the most dynamic cities in the world: he hears the muezzin's call to prayer in the early morning light, and listens to John Coltrane during the late afternoon heat. He witnesses teenagers diligently perpetrating e-mail frauds from internet cafes, longs after a woman reading Michael Ondaatje on a public bus, and visits the impoverished National Museum. Along the way, he reconnects with old school friends and his family, who force him to ask himself profound questions of personal and national history. Over long, wandering days, the narrator compares present-day Lagos to the Lagos of his memory, and in doing so reveals changes that have taken place in himself.

    As the government enforces tighter restrictions, Luo in turn tightens the reins on the waste workers in his employ. Ruthlessness is his means of survival.Scott Brandle has come to Silicon Isle representing TerraGreen Recycling, an American corporation that stands to earn ungodly sums if they can reach a deal to modernize the island’s recycling process.Chen Kaizong, a Chinese American, travels to Silicon Isle as Scott’s interpreter. There, Kaizong is hoping to find his heritage, but finds more questions instead. The home he longs for may not exist.As these forces collide, a dark futuristic virus is unleashed on the island, and war erupts between the rich and the poor; between Chinese tradition and American ambition; between humanity’s past and its future.