First published in 1889, Aves sin nido drew fiery protests for its unsparing expose of small town officials, judicial authorities, and priests who oppressed the native peoples of Peru. Matto de Turner was excommunicated by the Catholic Church, burned in effigy, and forced to emigrate to Argentina. In 1904, the novel was published in an English translation as with a modified ending. Successive English editions restored the original ending and translator's omissions. This edition follows the original version in Spanish, but comprises no less than 332 notes, adding more than 270 to the author's own 58 lexicographic annotations on Quecha and Spanish unusual terms, so necessary to grasp the real power of her prose. This annotated edition constitutes an important reading for all students of the indigenous cultures of South America.

    It has its own style, its own rationale, its own extraordinary character. It moves back and forth from hilarity to horror. It is outrageously funny and strangely affecting.

    His is the first split-level church in America, a bastion of modern thought and sophisticated virtue, yet even his prosperous parishioners are not immune to the backsliding evangelism infecting other parts of the country. One misguided congregant wants to sing hymns to hospital patients. Another goes so far as to put up a billboard with the message “Jesus Saves” written in phosphorescent green-and-orange letters. How is Mackerel supposed to write sermons with a vulgarity like that staring him in the face?Worse yet, the recently widowed pastor has fallen in love with Molly Calico, a former actress turned city hall clerk, well before the church is ready to stop mourning Mackerel’s saintly wife. Plans are under way for a shopping mall and memorial plaza commemorating the dear departed, and Mackerel must go to ever-greater lengths to keep his new romance a secret and his new paramour happy. Meanwhile, it is becoming clear that his devoted sister-in-law, Hester, has plans of her own when it comes to the reverend’s matrimonial future.As Mackerel twists and turns to get what he wants and avoid what he does not, the plot of this rollicking portrait of suburban piety kicks into high—and hilarious—gear.

    First published in the United States in 1987 and highly praised for its inventiveness, Pushkin House is a contemporary literary masterpiece. Though the novel's focus is a love affair between Lyova and Faina, the novel's true subject is an investigation of the corruption of Soviet intellectual life and history. Working within many of the confines imposed upon him during the Soviet regime, Bitov ingeniously draws upon Russian literary models, especially that of Nabokov, in order to parody and satirize the stifling society about him, as well as Russian literary tradition.

    To compensate for the physical void which temporarily stalls their caresses, Brausen eavesdrops on the conversation of his neighbors, a husband and wife, imagining their gestures and their expressions. But he not only wishes to imagine himself as someone else, he also seeks release from the world he knows. He leads many lives, some real and some fantastic, in order to experience a moment of psychic weightlessness.

    As a boy, Hussein falls in love with a beautiful and elusive girl, Sashiya, and arranges for another of her suitors to be murdered with a fakir's curse. The dead man's relatives vow vengeance. Hussein escapes and his adventures begin: snake-charming, sword-fighting, spying, stealing a fortune, and returning triumphantly to claim his bride. All of this is set against an evocatively exotic India, full of bazaars, temples, and beautiful women—despite the fact that O'Brian had never been to the East when he wrote the story.

    Eight years ago, Connie Salvatore was savagely murdered here. Glen has spent his life seeking redemption, haunted by the knowledge that he might have been able save her. The time has come to let go of his past and move on with his life. But as he prepares to do so, an old friend offers Glen the redemption he has always sought – a chance to relive that horrible night and change the past. All he has to do... is die.

    With determination and self-discipline he seizes opportunities of education and upward mobility, but struggles to keep his cultural identity alive through memories of his childhood. This sophisticated postcolonial text links language and character to reveal the social divisions, educational obstacles, and self-exploration of a struggling foreigner in the mid-20th century.

    When ten-year-old Birahima's mother dies, he leaves his native village in the Ivory Coast, accompanied by the sorcerer and cook Yacouba, to search for his aunt Mahan. Crossing the border into Liberia, they are seized by rebels and forced into military service. Birahima is given a Kalashnikov, minimal rations of food, a small supply of dope and a tiny wage. Fighting in a chaotic civil war alongside many other boys, Birahima sees death, torture, dismemberment and madness but somehow manages to retain his own sanity. Raw and unforgettable, despairing yet filled with laughter, Allah Is Not Obliged reveals the ways in which children's innocence and youth are compromised by war.

    Three anonymous, phantom-like people—two men and a woman—drift and muse in the game rooms, corridors and piano alcove of a seaside hotel or sanitorium. The narrator, a newcomer, loves the young woman. Much of the time these two converse, exploring their existence (or non-existence) and their relationship to a professorial man who is "not very old yet strangely ruined." The ambiguous condition of the three suggests the living death of a shared dream, hallucination or endless wait in limbo, where emotions still have sharp validity. At times the novel has the quality of a musical poem, with themes and variations played on certain words: calm, space, light, suffering.

    Originally published in New York City in 1882, Cirilo Villaverde's novel has fascinated readers inside and outside Cuba since the late 19th century. In this new English translation, a vast landscape emerges of the moral, political, and sexual depravity caused by slavery and colonialism. Set in the Havana of the 1830s, the novel introduces us to Cecilia, a beautiful light-skinned mulatta, who is being pursued by the son of a Spanish slave trader, named Leonardo. Unbeknownst to the two, they are the children of the same father. Eventually Cecilia gives in to Leonardo's advances; she becomes pregnant and gives birth to a baby girl. When Leonardo, who gets bored with Cecilia after a while, agrees to marry a white upper class woman, Cecilia vows revenge. A mulatto friend and suitor of hers kills Leonardo, and Cecilia is thrown into prison as an accessory to the crime. For the contemporary reader Helen Lane's masterful translation of Cecilia Vald�s opens a new window into the intricate problems of race relations in Cuba and the Caribbean. There are the elite social circles of European and New World Whites, the rich culture of the free people of color, the class to which Cecilia herself belonged, and then the slaves, divided among themselves between those who were born in Africa and those who were born in the New World, and those who worked on the sugar plantation and those who worked in the households of the rich people in Havana. Cecilia Vald�s thus presents a vast portrait of sexual, social, and racial oppression, and the lived experience of Spanish colonialism in Cuba.

    has dared to take on a difficult, grief-stricken period of English history, and done so with sensitivity and understanding; EARTH AND HEAVEN is the clever, compelling result' The Times

    An elderly woman who knows that death is close, but learns how to cheat it... A child with a dangerous friend who happens to be invisible... A ghost who can't stop reliving his suicide over and over again... People you'll wish you never have to meet, and stories you'll never forget. Skilfully translated into English for the very first time, these chilling tales from master storyteller Ratnakar Matkari are bound to keep readers of all ages up at night. With every page you turn, you'll be looking over your shoulder to make sure no one's there. Look again. Maybe there is!