Sifting through the rubble of the townspeople’s shattered memories, they have to dodge increasingly serious threats, and find justice … before it’s too late.

    For fans of Nadine Dorries, Maeve Binchy, Freda Lightfoot and Dilly Court. Lives are on the line as the workers fight back in the Welsh countryside… 1829, Wales For centuries. generations of the Jenkins family have eked out a living from their Carmarthenshire hill farm. But when a fire destroys virtually all of their possessions the children witness their lives crumbling around them. Mary and William find they have barely enough land left to provide for their basic needs. Their only option is to take on more work, but William longs for action, and Mary begins to suspect that he has become embroiled with the Rebecca-ites, a shadowy group of nationalists pitted against the English landowners whose tolls have bankrupted so many Welshman. As tensions mount, Mary becomes ever more torn between her mistrust of the rebels’ violence and her growing attraction to Jac Tŷ Isha, one of their leaders. And when the British government decides to put a stop to the revolt, the danger to the men she loves increases a hundredfold… REBECCA’S CHILDREN is a poignant, beautifully crafted saga of love and betrayal, set against the background of Wales in mid-1800s – a country aflame with political and social unrest. "An accomplished first novel." - The Times "A well-handled tale of passion, social injustice and nationalist fervour in nineteenth century Wales." - The Liverpool Post “Kate Dunn is a fine storyteller.” - Ben Elton

    Bolano's narrators are usually writers grappling with private (and generally unlucky) quests, who typically speak in the first person, as if giving a deposition, like witnesses to a crime. These protagonists tend to take detours and to narrate unresolved efforts. They are characters living in the margins, often coming to pieces, and sometimes, as in a nightmare, in constant flight from something horrid.In the short story "Silva the Eye," Bolano writes in the opening sentence: "It's strange how things happen, Mauricio Silva, known as The Eye, always tried to escape violence, even at the risk of being considered a coward, but the violence, the real violence, can't be escaped, at least not by us, born in Latin America in the 1950s, those of us who were around 20 years old when Salvador Allende died."Set in the Chilean exile diaspora of Latin America and Europe, and peopled by Bolano's beloved "failed generation," the stories of Last Evenings on Earth have appeared in The New Yorker and Grand Street.

    His colleague Manami should know better. His conquest Reiko treasures her independence above all else. Friends Tama and Subaru find themselves playing Nishino's game, but Eriko loves her cat more. Sayuri is older, Aichan is much younger, and Misono has her own conquests to make.For each of them, an encounter with elusive womaniser Mr Nishino will bring torments, desires and delights.

    Carefully reassembled with calm, steady hands, these shards tell the story of an ordinary family that somehow managed to survive the myriad persecutions and repressions of the last century. The family’s pursuit of a quiet, civilized, ordinary life—during such atrocious times—is itself a strange odyssey.In dialogue with thinkers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various genres—essay, fiction, memoir, travelogue, and history—Stepanova assembles a vast panorama of ideas and personalities and offers a bold exploration of cultural and personal memory.

    She is promised a nicely furnished apartment inside the Unit, where she will make new friends, enjoy the state of the art recreation facilities, and live the few remaining days of her life in comfort with people who are just like her. Here, women over the age of fifty and men over sixty-single, childless, and without jobs in progressive industries--are sequestered for their final few years; they are considered outsiders.In the Unit they are expected to contribute themselves for drug and psychological testing, and ultimately donate their organs, little by little, until the final donation. Despite the ruthless nature of this practice, the ethos of this near-future society and the Unit is to take care of others, and Dorrit finds herself living under very pleasant conditions: well-housed, well-fed, and well-attended. She is resigned to her fate and discovers her days there to be rather consoling and peaceful.But when she meets a man inside the Unit and falls in love, the extraordinary becomes a reality and life suddenly turns unbearable. Dorrit is faced with compliance or escape, and...well, then what?

    Keiko has never fit in, neither in her family, nor in school, but when at the age of eighteen she begins working at the Hiiromachi branch of “Smile Mart,” she finds peace and purpose in her life. In the store, unlike anywhere else, she understands the rules of social interaction ― many are laid out line by line in the store’s manual ― and she does her best to copy the dress, mannerisms, and speech of her colleagues, playing the part of a “normal” person excellently, more or less. Managers come and go, but Keiko stays at the store for eighteen years. It’s almost hard to tell where the store ends and she begins. Keiko is very happy, but the people close to her, from her family to her coworkers, increasingly pressure her to find a husband, and to start a proper career, prompting her to take desperate action…A brilliant depiction of an unusual psyche and a world hidden from view, Convenience Store Woman is an ironic and sharp-eyed look at contemporary work culture and the pressures to conform, as well as a charming and completely fresh portrait of an unforgettable heroine.

    The woman at the center wavers between stasis and movement, between the need to belong and the refusal to form lasting ties. The city she calls home, an engaging backdrop to her days, acts as a confidant: the sidewalks around her house, parks, bridges, piazzas, streets, stores, coffee bars. We follow her to the pool she frequents and to the train station that sometimes leads her to her mother, mired in a desperate solitude after her father's untimely death. In addition to colleagues at work, where she never quite feels at ease, she has girl friends, guy friends, and "him," a shadow who both consoles and unsettles her. But in the arc of a year, as one season gives way to the next, transformation awaits. One day at the sea, both overwhelmed and replenished by the sun's vital heat, her perspective will change. This is the first novel she has written in Italian and translated into English. It brims with the impulse to cross barriers. By grafting herself onto a new literary language, Lahiri has pushed herself to a new level of artistic achievement.

    Yui struggles to continue on, alone with her pain. Then, one day she hears about a man who has an old disused telephone booth in his garden. There, those who have lost loved ones find the strength to speak to them and begin to come to terms with their grief. As news of the phone booth spreads, people travel to it from miles around. Soon Yui makes her own pilgrimage to the phone booth, too. But once there she cannot bring herself to speak into the receiver. Instead she finds Takeshi, a bereaved husband whose own daughter has stopped talking in the wake of her mother’s death. Simultaneously heartbreaking and heartwarming, The Phone Booth at the Edge of the World is the signpost pointing to the healing that can come after.

    April Witch created a furor upon its original publication in Sweden. Addressing themes of mother-daughter relationships, competition between women, and the failures of Sweden's postwar welfare state, it is a thrillingly written and fascinating story.

    But he has found a way to break the cycle—Bilodo has taken to stealing people's mail, steaming open the envelopes, and reading the letters inside. And so it is he comes across Ségolène's letters. She is corresponding with Gaston, a master poet, and their letters are each composed of only three lines. They are writing each other haikus. The simplicity and elegance of their poems move Bilado and he begins to fall in love with her. But one day, out on his round, he witnesses a terrible and tragic accident. Just as Gaston is walking up to the post-box to mail his next haiku to Ségolène, he is hit by a car and dies on the side of the road. And so Bilodo makes an extraordinary decision—he will impersonate Gaston and continue to write to Ségolène under this guise. But how long can the deception continue for? Denis Thériault weaves a passionate and elegant tale, comic and tragic with a love story at its heart.

    It is the story of boza seller Mevlut, the woman to whom he wrote three years' worth of love letters, and their life in Istanbul.In the four decades between 1969 and 2012, Mevlut works a number of different jobs on the streets of Istanbul, from selling yoghurt and cooked rice, to guarding a car park. He observes many different kinds of people thronging the streets, he watches most of the city get demolished and re-built, and he sees migrants from Anatolia making a fortune; at the same time, he witnesses all of the transformative moments, political clashes, and military coups that shape the country. He always wonders what it is that separates him from everyone else - the source of that strangeness in his mind. But he never stops selling boza during winter evenings and trying to understand who his beloved really is.What matters more in love: what we wish for, or what our fate has in store? Do our choices dictate whether we will be happy or not, or are these things determined by forces beyond our control?A Strangeness In My Mind tries to answer these questions while portraying the tensions between urban life and family life, and the fury and helplessness of women inside their homes.

    What on earth possessed her?Could it have anything to do with Fanny's missing brother-in-law, who left her sister almost a year ago and ran away to Minsk, abandoning his family to destitution and despair?Or could Fanny have been lured away by Zizek Breshov, the mysterious ferryman on the Yaselda river, who, in a strange twist of events, seems to have disappeared on the same night?Surely there can be no link between Fanny and the peculiar roadside murder on the way to Telekhany, which has left Colonel Piotr Novak, head of the Russian secret police, scratching his head. Surely that could have nothing to do with Fanny Keismann, whatever her past, whatever her reputation as a wilde chayeh, a wild beast . . . Surely not.

    Millions of kilometres from Earth.The crew of the Six-Thousand ship consists of those who were born, and those who were created. Those who will die, and those who will not. When the ship takes on a number of strange objects from the planet New Discovery, the crew is perplexed to find itself becoming deeply attached to them, and human and humanoid employees alike find themselves longing for the same things: warmth and intimacy. Loved ones who have passed. Our shared, far-away Earth, which now only persists in memory.Gradually, the crew members come to see themselves in a new light, and each employee is compelled to ask themselves whether their work can carry on as before – and what it means to be truly alive.Structured as a series of witness statements compiled by a workplace commission, Ravn’s crackling prose is as chilling as it is moving, as exhilarating as it is foreboding. Wracked by all kinds of longing, The Employees probes into what it means to be human, emotionally and ontologically, while simultaneously delivering an overdue critique of a life governed by work and the logic of productivity.

    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.”