First published in 1978, it speaks to the painful social costs of reckless industrialization, even as it tellingly portrays the spiritual malaise of the newly rich and powerful and a working class subject to forces beyond its control. Cho's lean, clipped, deceptively simple style, the rapidly shifting points of view, terse dialogue, and subtle irony evoke the particularities of life in 1970s South Korea in the presence of global economic forces.The desperate realities of life for the dwarf, the proverbial little guy upon whose back Korea's economic transformation largely took place, are emotively rendered in twelve linked stories examining the lives of a laboring family, a family of the newly emerging middle class, and that of a wealthy industrialist. The stories have overlapping characters and situations: the murder of a swindler, a family's eviction from a squatter settlement, the assassination of an important executive, the dwarf 's fantasy of a planet where life is easier, his later suicide and the subsequent fate of his dispersed friends and family members.

    During the Vietnam war, Hung, a well-known composer, becomes enchanted by the voice and beauty of a young peasant girl named Suong. He invites her to join his troupe; she becomes his wife and his star performer. But after the war, Hung loses his job, setting off a series of events that drive him and Suong into a destructive spiral. One of Vietnam's most popular writers, Duong Thu Huong draws on her own experiences to describe life at the battlefront, the conditions of a "re-education" camp, and the texture and rhythm, scents and sounds, of a provincial Vietnamese city. Most of all, she tells a haunting, universal story of failed love.

    In this lush chronicle of far-flung adventure, the military recruit crosses paths with a compatriot who has dismantled a sumptuous palace in Tripoli and is transporting it across the continent on a camel caravan. The protagonist soon takes charge of this hoard of architectural fragments, ferrying the dismantled landmark through Sudan, Egypt and the Arabian Peninsula, attempting to return to his native Beirut with this moveable real estate. Along the way, he encounters skeptic sheikhs, suspicious tribal leaders, bountiful feasts, pilgrims bound for Mecca and T.E. Lawrence in a tent.

    Her memoir, a rare account of an ordinary woman, enlightens not just her children, for whom she wrote it, but all posterity about her life and community. Gluckel speaks to us with determination and humor from the seventeenth century. She tells of war, plague, pirates, soldiers, the hysteria of the false messiah Sabbtai Zevi, murder, bankruptcy, wedding feasts, births, deaths, in fact, of all the human events that befell her during her lifetime. She writes in a matter of fact way of the frightening and precarious situation under which the Jews of northern Germany lived. Accepting this situation as given, she boldly and fearlessly promotes her business, her family and her faith. This memoir is a document in the history of women and of life in the seventeenth century.

    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.

    The Scholars is the first Chinese novel of its scope not to borrow any characters from history or legend and it is the first work of satiric realism to achieve an almost complete disassociation from the religious beliefs of the people. Departing from the impersonal tradition of Chinese fiction, Wu abandons such established narrative formulas as folk songs and poetic verse in favor of autobiographical experiences, descriptive realism, and characters modeled after his friends and relatives — elements that combine to give this critique of the Confucian civil service system an unprecedented immediacy and humor.

    Abandoned hours after her birth, she is eventually rescued by her grandmother. The old woman names the child Bari, after a legend telling of a forsaken princess who undertakes a quest for an elixir that will bring peace to the souls of the dead. As a young woman, frail, brave Bari escapes North Korea and takes refuge in China before embarking on a journey across the ocean in the hold of a cargo ship, seeking a better life. She lands in London, where she finds work as a masseuse. Paid to soothe her clients' aching bodies, she discovers that she can ease their more subtle agonies as well, having inherited her beloved grandmother's uncanny ability to read the pain and fears of others. Bari makes her home amongst other immigrants living clandestinely. She finds love in unlikely places, but also suffers a series of misfortunes that push her to the limits of sanity. Yet she has come too far to give in to despair.

    Beyond the prison walls, the war rages. Inside, a man is found brutally murdered. What follows is a searing portrait of Korea before their civil war, and a testimony to the redemptive power of poetry.Watanabe Yuichi, a young guard with a passion for reading, is ordered to investigate a murder. The victim, Sugiyama, also a guard, was feared and despised throughout the prison and inquiries have barely begun when a powerful inmate confesses. But Watanabe is unconvinced; and as he interrogates both the suspect and Yun Dong-ju, a talented Korean poet, he starts to realize that the fearsome guard was not all he appeared to be...As Watanabe unravels Sugiyama's final months, he begins to discover what is really going on inside this dark and violent institution, which few inmates survive: a man who will stop at nothing to dig his way to freedom; a governor whose greed knows no bounds; a little girl whose kite finds an unlikely friend. And Yun Dong-ju—the poet whose works hold such beauty the can break the hardest of hearts.As the war moves towards its devastating close and bombs rain down upon the prison, Watanabe realizes that he must find a way to protect Yun Dong-ju, no matter what it takes. As he digs further and further in to his investigation, the young guard discovers a devastating truth.At once a captivating mystery and an epic lament for lost freedom and humanity, The Investigation, inspired by a true story, is a sweeping and gripping tale by an international literary star.

    Idries Shah, the author of this gripping story, is the best-known Afghan writer of our time. His books on Sufism, philosophy, history, and travel, are known the world over. Shah was the descendant of a thousand-year-old Afghan family, and an author and teacher who found success explaining the East to the West. Kara Kush, first published in 1986, is his only novel: a fascinating adventure in which a gifted writer set out to inform the world about Afghan society, history, and culture. According to interviews with Shah, the novel is based on fact and eyewitness accounts.

    Who Ate Up All the Shinga? is an extraordinary account of her experiences growing up during the Japanese occupation of Korea and the Korean War, a time of great oppression, deprivation, and social and political instability.Park Wan-suh was born in 1931 in a small village near Kaesong, a protected hamlet of no more than twenty families. Park was raised believing that "no matter how many hills and brooks you crossed, the whole world was Korea and everyone in it was Korean." But then the tendrils of the Japanese occupation, which had already worked their way through much of Korean society before her birth, began to encroach on Park's idyll, complicating her day-to-day life.With acerbic wit and brilliant insight, Park describes the characters and events that came to shape her young life, portraying the pervasive ways in which collaboration, assimilation, and resistance intertwined within the Korean social fabric before the outbreak of war. Most absorbing is Park's portrait of her mother, a sharp and resourceful widow who both resisted and conformed to stricture, becoming an enigmatic role model for her struggling daughter. Balancing period detail with universal themes, Park weaves a captivating tale that charms, moves, and wholly engrosses.

    He is shocked to find his new classmates and teacher under the spell of the class monitor. As the narrator sets out to overthrow the bully, he is threatened, teased -- and finally broken.

    The poems not only give voice to those who met unjust deaths during Korea’s violent contemporary history, but also unveil what Kim calls “the structure of death, that we remain living in.” Autobiography of Death, Kim’s most compelling work to date, at once reenacts trauma and narrates our historical death—how we have died and how we survive within this cyclical structure. In this sea of mirrors, the plural “you” speaks as a body of multitudes that has been beaten, bombed, and buried many times over by history. The volume concludes on the other side of the mirror with “Face of Rhythm,” a poem about individual pain, illness, and meditation.

    Here he tells of history, a nation, the self, love, and resurrection. Amichai’s last volume is one of medi­tation and hope, and stands as a testament to one of Israel’s greatest poets. Open closed open. Before we are born, everything is openin the universe without us. For as long as we live, everything is closedwithin us. And when we die, everything is open again.Open closed open. That’s all we are.—from “I WASN’T ONE OF THE SIX MILLION:   AND WHAT IS MY LIFE SPAN? OPEN CLOSED OPEN”

    It’s 28-year-old Ayami’s final day at her box-office job in Seoul’s audio theater. Her night is spent walking the sweltering streets of the city with her former boss in search of Yeoni, their missing elderly friend, and her day is spent looking after a mysterious, visiting poet. Their conversations take in art, love, food, and the inaccessible country to the north. Almost immediately, in the heat of Seoul at the height of the summer, order gives way to chaos as the edges of reality start to fray, with Ayami becoming an unwitting escort into a fever-dream of increasingly tangled threads, all the while images of the characters’ overlapping realities repeat, collide, change, and reassert themselves in this masterful work that upends the very structure of fiction and narrative storytelling and burns itself upon the soul of the reader. By one of the boldest and most innovative voices in contemporary Korean literature, and brilliantly realized in English by International Man Booker­–winning translator Deborah Smith, Bae Suah’s hypnotic and wholly original novel asks whether more than one version of ourselves can exist at once, demonstrating the malleable nature of reality as we know it.

    Raised by a philosophical and cantankerous killer named Old Raccoon in his crime headquarters, The Library, Reseng has always been surrounded by plots--and by books that no one ever reads. But, when Reseng steps out of line on a job, he risks his future. And when he uncovers an extraordinary plot being cooked up by an eccentric trio of young women--a convenience store clerk, her wheelchair-bound sister, and a cross-eyed obsessive knitter--he will have to decide whether he will be used as a pawn, or if he can take control of the game.Un-su Kim has written that rarest of novels, a cracking commercial crime novel that sings with the soul, wit, and lyricism of real literary craft. The Plotters is page-turning, hilarious, soul-searching, and deeply entertaining. It is a wake-up call to genre lovers and literary readers alike.