The reading of Sciascia is particularly important in Juan Cárdenas’s latest novel, in which politics, religion, and industry (three quintessentially Sciasian themes) are as important as sex or nature, two themes that Cárdenas tends to favor in this, one of the preeminent Latin American novels of the 21st century.

    His magnificent Stranger to the Moon portrays a world that seems to exist outside history and geography, but taps into the dark myths and collective subconscious of his country’s harrowing inequality and violence. A parable of pointed social criticism, with naked humans imprisoned in a house to serve the needs of “the vicious clothed-ones,” the novel describes what ensues when a single “naked-one” privately rebels, risking his own death and that of his fellow prisoners. Each subsequent section of the book adds further layers to the ritualistic and bizarre social order that its characters inhabit. Trained insects and reptiles spy on all the naked-ones, and only the most fortunate reach old age (often by taking up strategic spots near the kitchen and grabbing for the fiercely contested food). Stranger to the Moon is a powerfully brave and distinctive novel by a writer who is arguably Colombia’s greatest living author.

    In this gorgeously wrought, award-winning novel, Vásquez confronts the history of his home country, Colombia.In the city of Bogotá, Antonio Yammara reads an article about a hippo that had escaped from a derelict zoo once owned by legendary Colombian drug kingpin Pablo Escobar. The article transports Antonio back to when the war between Escobar’s Medellín cartel and government forces played out violently in Colombia’s streets and in the skies above.Back then, Antonio witnessed a friend’s murder, an event that haunts him still. As he investigates, he discovers the many ways in which his own life and his friend’s family have been shaped by his country’s recent violent past. His journey leads him all the way back to the 1960s and a world on the brink of change: a time before narco-trafficking trapped a whole generation in a living nightmare.Vásquez is “one of the most original new voices of Latin American literature,” according to Nobel Prize winner Mario Vargas Llosa, and The Sound of Things Falling is his most personal, most contemporary novel to date, a masterpiece that takes his writing—and will take his literary star—even higher.*Winner of the 2014 International IMPAC DUBLIN Literary Award

    As the mother drives, she and the boy, Roy, trade impressions of the landscape and of life, in the process approaching an understanding of each other and their shared inner landscape."Mom, can we drive to Wyoming?" "You mean now?" "Uh-huh. Is it far?" "Very far. We're almost to Georgia." "Can we go someday?" "Sure, Roy, we'll go." "We won't tell anyone, right, Mom?" "No, baby, nobody will know where we are." "And we'll have a dog." "I don't see why not." "From now on when anything bad happens, I'm going to think about Wyoming. Running with my dog." "It's a good thing, baby. Everybody needs Wyoming." —from Wyoming

    As with his predecessors in the -genre of the strange- Ernst Theodor Amadeus Hoffmann, Nikolai Gogol, Edgar Allan Poe and Franz Kafka, the apparent eccentricities in Felisberto Hernandez's stories create a coherent system of allusions and correspondences, a system that reaches its summit in masterpieces such as -Las Hortensias- and -La casa inundada-. As Hoffmann, who preceded him, and Cortazar, who followed, Felisberto turned away from the literary trends of his times and departed on his own journey, undertaking the task of redefining the human being and replacing the accepted notion of material reality with what he called -the mystery-: small and deep daily realities that fall outside an ever narrowing focus on the homogenous and utilitarian. A trained musician and composer, Felisberto elaborated his literary compositions as musical structures, based on the relations among notes and phrases. Thus, Felisberto Hernandez's short stories cannot be approached and read as isolated pieces if the reader intends to grasp the complexity lying deep below the surface. In this edition Ana Maria Hernandez -who bears the same name as Felisbertos' second daughter and teaches Advanced Spanish Composition at CUNY- analyzes the gradual development of Felisberto's theory and praxis of composition by commenting on his most representative short stories and emphasizing the intertextuality of the recurring symbols and themes throughout his literary production. This approach transforms this edition in an exceptional basis for Creative Writing and Advanced Spanish Composition courses, exposing students to texts that exerted a noticeable influence upon acclaimed writers such as Julio Cortazar -his biggest fan- Juan Carlos Onetti, and Italo Calvino, and provoked one of the biggest critical blunders by the otherwise sharp critic Emir Rodriguez Monegal."

    Jessica Anthony, the inaugural winner of the Amanda Davis Highwire Fiction Award, makes an unforgettable debut with an unforgettable hero: Rovar Ákos Pfliegmand--unlikely bandit, unloved lover, and historian of the unimportant.

    "The stories are rich and startling in their matter and confident in their manner....They are--the word cannot be avoided--magical."--John Updike, The New YorkerThis collection of fiction, representing some of García Márquez's earlier work, includes eleven short stories and a novella, Innocent Eréndira, in which a young girl who dreams of freedom cannot escape the reach of her vicious and avaricious grandmother."Garcí­a Márquez's fictional universe has the same staggeringly gratifying density and texture as Proust's Faubourg Saint-Germain and Joyce's Dublin....Arguably the best of the Latin Americans."--Martin Kaplan, The New Republic"It is the genius of the mature Garcí­a Márquez that fatalism and possibility somehow coexist, that dreams redeem, that there is laughter even in death.'--John Leonard, New York Times

    --Choice

    In this sarcastic and disillusioned book we find an entire country that crumbles, taking in its fall the dream of paradise. This is a ferocious satire of democracy in a web of illusions, lies and treasons, of souls in pain, dead people that vote and flocks of parrots that tell eternal truths. A devastating picture of an unforgettable character and town.

    The board members of the American company Dall & Houston receive a death threat from an alleged Islamic terrorist called Aarohum Al Rashid: unless they return the 1,000 million dollars that they got from its direct involvement with the Iraq war, they will be killed one by one.

    Eddie Miller is an airline pilot who's studying to get his real estate license. Don Luchessi is a silver salesman who's separated from his wife but too Catholic to get a divorce. Hank Norton is a drug company rep who gets four times as many dames as any of the other guys. They are all regular guys who like to drink, play cards, meet broads, and shoot a little pool. But when a friendly bet goes horribly awry, they find themselves with two dead bodies on their hands and a homicidal husband in the wings—and acting more like hardened criminals than upstanding citizens.

    His conventional life knocked off the rails, Gerfaut turns the tables and sets out to track down his pursuers. Along the way, he learns a thing or two about himself. . . . Manchette—masterful stylist, ironist, and social critic—limns the cramped lives of professionals in a neoconservative world."Manchette has appropriated and subverted the classic thriller [with] descriptions of undiluted action, violence and suspense [and] a perspective on evil, a disenchanted world of manipulation and fury . . . ." —Times Literary Supplement"The petty exigencies of the classic thriller find themselves summarily reduced to cremains by the fiery blue jets of Jean-Patrick Manchette's concision, intelligence, tension, and style." —Jim Nisbet, author of Lethal Injection and Prelude to a Scream"Manchette is a must for the reading lists of all noir fans. . . . Manchette deserves a higher profile among noir fans." —Publishers Weekly"Manchette . . . performs miracles within this simple story. His style is very matter of fact, stark and almost cool like the jazz his hero or anti-hero Gerfaut devours at every opportunity. Yet in this short novel there is no lack of atmosphere, excitement, characters or descriptive writing, it is just the total lack of unnecessary material that makes the story seem so lean and mean." —Norman Price, EuroCrime"A social satire cum suspense equally interested in dissecting everyday banalities and manufacturing thrills. Writing with economy, deadpan irony, and an eye for the devastating detail, Manchette spins pulp fiction into literature." —Kirkus Reviews"While there isn’t much that’s obviously moral—in the good-versus-evil sense—[this novel] demonstrate[s] why Manchette is hailed as the man who kicked the French crime novel or “polar” out of the apolitical torpor into which it had fallen by the time he started publishing his “neo-polars” in the 1970s. . . . Grim and cerebral as they feel, it’s remarkable how comic—in an absurdist, laugh-or-you’ll-cry way—these books are, as if Manchette had decided that poking fun at the products of the capitalist system were the fittest way to attack the system itself." —Jennifer Howard, Boston Review"The pace is fast, the action sequences are superb, and the effect is just as striking as it must have been when the book was first published in 1976." —Laura Wilson, The Guardian"[T]he novel is brilliantly written, replete with allusions to art, literature, and music, papered with the very texture and furniture of our lives. Manchette is Camus on overdrive, at one and the same time white-hot, ice-cold. He deserves much the same attention." —James Sallis, Review of Contemporary FictionJean-Patrick Manchette (1942—1995) rescued the French crime novel from the grip of stodgy police procedurals — restoring the noir edge by virtue of his post-1968 leftism. Today, Manchette is a totem to the generation of French mystery writers who came in his wake. Jazz saxophonist, political activist, and screen writer, Manchette was influenced as much by Guy Debord as by Gustave Flaubert. City Lights has published more of work, including The Gunman.

    and Elena leave behind their comfortable lives, the parties and the money in Medellin to settle down on a remote island. Their plan is to lead the good life, self-sufficient and close to nature. But from the very start, each day brings small defeats and imperceptible dramas, which gradually turn paradise into hell, as their surroundings inexorably claim back every inch of the 'civilisation' they brought with them. Based on a true story, In the Beginning Was the Sea is a dramatic and searingly ironic account of the disastrous encounter of intellectual struggle with reality - a satire of hippyism, ecological fantasies, and of the very idea that man can control fate.

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    In Where the Money Went, he surprises us with stories about love and the desertion of love, all written from a man’s point of view. Rarely is a man so revealing.A narrator struggles with his abiding loyalty to his ex-wife, even when he finds love with another woman. A newly divorced man learns more than he wants to know about his friends’ long-term marriages. In these nine stories, which incisively touch on the complex nature of love, we find men as fathers, as husbands, and as lovers, trying their best in a world that stubbornly refuses to make sense. Canty, whose writing has been praised as “smart, gritty, unsentimental” (New York Times), “lovely and unforgiving” (Boston Globe), and “enchanting and painful” (USA Today), powerfully conveys both the bitterness that can afflict romantic relationships, and the moments of humor and tenderness that cut through it.