A member of the secret police walks into the office of a dissident magazine and finds a reporter, who records his testimony. The narrator of Nona Fernández’s mesmerizing and terrifying novel The Twilight Zone is a child when she first sees this man’s face on the magazine’s cover with the words “I Tortured People.” His complicity in the worst crimes of the regime and his commitment to speaking about them haunt the narrator into her adulthood and career as a writer and documentarian. Like a secret service agent from the future, through extraordinary feats of the imagination, Fernández follows the “man who tortured people” to places that archives can’t reach, into the sinister twilight zone of history where morning routines, a game of chess, Yuri Gagarin, and the eponymous TV show of the novel’s title coexist with the brutal yet commonplace machinations of the regime.How do crimes vanish in plain sight? How does one resist a repressive regime? And who gets to shape the truths we live by and take for granted? The Twilight Zone pulls us into the dark portals of the past, reminding us that the work of the writer in the face of historical erasure is to imagine so deeply that these absences can be, for a time, spectacularly illuminated.

    In a brilliant translation by Margaret Sayers Peyden, this remarkable new look at the Book of Genesis will appeal to readers of the novels of Isabel Allende, Anne Rice’s Jesus Chronicles, and to all lovers of great imaginative literature.

    The acclaimed translator Katherine Silver has greatly revised her original translation, enlivening afresh this remarkable work.

    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 Bus Driver Who Wanted to Be God gathers his daring and provocative short stories for the first time in English. Brief, intense, painfully funny, and shockingly honest, Keret's stories are snapshots that illuminate with intelligence and wit the hidden truths of life. As with the best comic authors, hilarity and anguish are the twin pillars of his work. Keret covers a remarkable emotional and narrative terrain-from a father's first lesson to his boy to a standoff between soldiers caught in the Middle East conflict to a slice of life where nothing much happens. Bus Driver includes stories from Keret's bestselling collections in Israel, Pipelines and Missing Kissinger, as well as Keret's major new novella, "Kneller's Happy Campers," a bitingly satirical yet wistful road trip set in the afterlife for suicides.

    Then, a talking cat named Tiger appears with an unusual request. The feline asks for—or rather, demands—the teenager’s help in saving books with him. The world is full of lonely books left unread and unloved, and Tiger and Rintaro must liberate them from their neglectful owners. Their mission sends this odd couple on an amazing journey, where they enter different mazes to set books free. Through their travels, Tiger and Rintaro meet a man who leaves his books to perish on a bookshelf, an unwitting book torturer who cuts the pages of books into snippets to help people speed read, and a publishing drone who only wants to create bestsellers. Their adventures culminate in one final, unforgettable challenge—the last maze that awaits leads Rintaro down a realm only the bravest dare enter...

    The novel presents a series of flashes — scenes, moods, dreams, and weather — as the narrator wanders through Barranco (then an exclusive seaside resort outside Lima). In one stunning passage after another, he skips from reveries of first loves, South Pole explorations, and ocean tides to precise and unashamed notations of class and of race: from an Indian woman "with her hard, shiny, damp head of hair — a mud carving" to a gringo gobbling "synthetic milk, canned meat, hard liquor."As the translator notes, The Cardboard House is as "subversive now as when it was written: Adán's uncompromising poetic vision and the trueness and poetry of his voice constitute a heroic act against cultural colonialism."

    Thus begins the story of Poonachi, the little orphan goat. As you follow her story from forest to habitation, independence to motherhood, you recognise in its significant moments the depth and magnitude of your own fears and longings, fuelled by the instinct for survival that animates all life. Masterly and nuanced, Perumal Murugan’s tale forces us reflect on our own responses to hierarchy and ownership, selflessness and appetite, love and desire, living and dying. Poonachi is the story of a goat who carries the burden of being different all her life, of a she-goat who survives against the odds. It is equally an expression of solidarity with the animal world and the female condition. The tale is also a commentary on our times, on the choices we make as a society and a nation, and the increasing vulnerability of individuals, particularly writers and artists, who resist when they are pressed to submit. Reviews for Poonachi “Murugan’s sarcasm speaks of the robustness of his spirit … As in all his novels, (his) story is rich in detail … (He) sustains the narrative tension right from the start.”- Elizabeth Kuruvilla, The Hindu Literary Review

    They had human bodies, long noses, and wings. They were tengu, creatures that appear in Japanese folktales.The tengu attach themselves to Tsukiko and begin to follow her everywhere. Where did they come from and why are they here? And what other invisible and unacknowledged forces are acting upon Tsukiko’s seemingly peaceful world?

    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.

    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.

    THE WHITE BOOK becomes a meditation on the color white, as well as a fictional journey inspired by an older sister who died in her mother's arms, a few hours old. The narrator grapples with the tragedy that has haunted her family, an event she colors in stark white--breast milk, swaddling bands, the baby's rice cake-colored skin--and, from here, visits all that glows in her memory: from a white dog to sugar cubes.As the writer reckons with the enormity of her sister's death, Han Kang's trademark frank and chilling prose is softened by retrospection, introspection, and a deep sense of resilience and love. THE WHITE BOOK--ultimately a letter from Kang to her sister--offers powerful philosophy and personal psychology on the tenacity and fragility of the human spirit, and our attempts to graft new life from the ashes of destruction.

    Most of the island's inhabitants are oblivious to these changes, while those few imbued with the power to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten.When a young woman who is struggling to maintain her career as a novelist discovers that her editor is in danger from the Memory Police, she concocts a plan to hide him beneath her floorboards. As fear and loss close in around them, they cling to her writing as the last way of preserving the past.A surreal, provocative fable about the power of memory and the trauma of loss, The Memory Police is a stunning new work from one of the most exciting contemporary authors writing in any language.

    Alone, except for harried undertakers, she buries her mother–the only family Adelaida has ever known.Numb with grief, Adelaida returns to the apartment they shared. Outside the window that she tapes shut every night—to prevent the tear gas raining down on protesters in the streets from seeping in. When looters masquerading as revolutionaries take over her apartment, Adelaida resists and is beaten up. It is the beginning of a fight for survival in a country that has disintegrated into violence and anarchy, where citizens are increasingly pitted against each other. But as fate would have it, Adelaida is given a gruesome choice that could secure her escape.Filled with riveting twists and turns, and told in a powerful, urgent voice, It Would Be Night in Caracas is a chilling reminder of how quickly the world we know can crumble.

    Violeta comes into the world on a stormy day in 1920, the first girl in a family of five boisterous sons. From the start, her life will be marked by extraordinary events, for the ripples of the Great War are still being felt, even as the Spanish flu arrives on the shores of her South American homeland almost at the moment of her birth.Through her father's prescience, the family will come through that crisis unscathed, only to face a new one as the Great Depression transforms the genteel city life she has known. Her family loses all and is forced to retreat to a wild and beautiful but remote part of the country. There, she will come of age, and her first suitor will come calling. . . .She tells her story in the form of a letter to someone she loves above all others, recounting devastating heartbreak and passionate affairs, times of both poverty and wealth, terrible loss and immense joy. Her life will be shaped by some of the most important events of history: the fight for women's rights, the rise and fall of tyrants, and, ultimately, not one but two pandemics.Told through the eyes of a woman whose unforgettable passion, determination, and sense of humor will carry her through a lifetime of upheaval, Isabel Allende once more brings us an epic that is both fiercely inspiring and deeply emotional.