Stripped of any preciousness or sentimentality, Natalia Ginzburg’s writing here is white-hot, tempered by rage. She transforms the unhappy tale of an ordinary dull marriage into a rich psychological thriller that seems to beg the question: why don’t more wives kill their husbands?

    He believes he is dying and in his feverish delirium various characters, both real and imaginary, appear to him as icy monsters.

    Encompassing over one hundred years of German history, from the nineteenth century to the Weimar Republic, from World War II to the Socialist German Democratic Republic, and finally reunification and its aftermath, Visitation offers the life stories of twelve individuals who seek to make their home in this one magical little house. The novel breaks into the everyday life of the house and shimmers through it, while relating the passions and fates of its inhabitants. Elegant and poetic, Visitation forms a literary mosaic of the last century, tearing open wounds and offering moments of reconciliation, with its drama and its exquisite evocation of a landscape no political upheaval can truly change.

    Yee, a powerful political figure who works for the Japanese occupational government. As these two move deftly between Shanghai’s tea parties and secret interrogations, they become embroiled in the complicated politics of wartime — and in a mutual attraction that may be more than what they expected. Written in lush, lavish prose, and with the tension of a political thriller, Lust, Caution brings 1940s Shanghai artfully to life even as it limns the erotic pulse of a doomed love affair.

    1962) is a lecturer at the University of Rennes II and research professor of literature and Romance studies at Duke University. She joined the Oulipo in 2000, becoming the first member to join born after the Oulipo was founded. Garréta won France's prestigious Prix Médicis in 2002, awarded each year to an author whose "fame does not yet match their talent," for her novel Pas un jour.Emma Ramadan is a graduate of Brown University and received her master's in literary translation from the American University of Paris. Her translation of Anne Parian's Monospace is forthcoming from La Presse. She is currently on a Fulbright Fellowship for literary translation in Morocco.

    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.

    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.

    Israeli soldiers capture and rape a young Palestinian woman, and kill and bury her in the sand. Many years later, a woman in Ramallah becomes fascinated to the point of obsession with this ‘minor detail’ of history. A haunting meditation on war, violence and memory, Minor Detail cuts to the heart of the Palestinian experience of dispossession, life under occupation, and the persistent difficulty of piecing together a narrative in the face of ongoing erasure and disempowerment.

    Mikage, the heroine of Kitchen, is an orphan raised by her grandmother, who has passed away. Grieving, she is taken in by her friend Yoichi and his mother (who was once his father), Eriko. As the three of them form an improvised family that soon weathers its own tragic losses, Yoshimoto spins a lovely, evocative tale that recalls early Marguerite Duras. Kitchen and its companion story, "Moonlight Shadow," are elegant tales whose seeming simplicity is the ruse of a writer whose voice echoes in the mind and the soul.

    Its twelve, stand-alone fragments follow the first year of her separation from her husband. The novel is full of light, sometimes comforting and sometimes dangerous: sunlight streaming through windows, dappled light in the park, distant fireworks, dazzling floodwater, desaturated streetlamps and earth-shaking explosions. The seemingly artless prose is beautifully patterned: the cumulative effect is disarmingly powerful and images remain seared into your retina for a long time afterwards.

    Twenty-one year old Fenfang Wang has traveled one thousand eight hundred miles to seek her fortune in contemporary urban Beijing, and has no desire to return to the drudgery of the sweet potato fields back home. However, Fenfang is ill-prepared for what greets her: a Communist regime that has outworn its welcome, a city under rampant destruction and slap-dash development, and a sexist attitude seemingly more in keeping with her peasant upbringing than the country’s progressive capital. Yet Fenfang is determined to live a modern life. With courage and purpose, she forges ahead, and soon lands a job as a film extra. While playing roles like woman-walking-over-the bridge and waitress-wiping-a-table help her eke out a meager living, Fenfang comes under the spell of two unsuitable young men, keeps her cupboard stocked with UFO noodles, and after mastering the fever and tumult of the city, ultimately finds her true independence in the one place she never expected.At once wry and moving, Twenty Fragments of a Ravenous Youth gives us a clear-eyed glimpse into the precarious and fragile state of China’s new identity and asserts Xiaolu Guo as her generation’s voice of modern China.

    Stories from the past are woven together with the problems Windisch, the village miller, faces after he applies for permission to migrate to West Germany. Herta Müller (Herta Mueller) describes with poetic attention the dreams and superstitions, conflicts and oppression of a forgotten region, the Banat, in the Danube Plain. In sparse, poetic language, Muller captures the forlorn plight of a trapped people.

    On a visit to the beach he intuitively solves an ancient riddle, finds a pirate’s treasure, and becomes a very wealthy man. Even so, César’s bid for world domination comes first and so he attends a literary conference to be near the man whose clone he hopes will lead an army to victory: the world-renowned Mexican author, Carlos Fuentes. A comic science fiction fantasy of the first order, The Literary Conference is the perfect vehicle for César Aira’s take over of literature in the 21st century.

    Yuri Herrera does not simply write about the border between Mexico and the United States and those who cross it. He explores the crossings and translations people make in their minds and language as they move from one country to another, especially when there’s no going back.Traversing this lonely territory is Makina, a young woman who knows only too well how to survive in a violent, macho world. Leaving behind her life in Mexico to search for her brother, she is smuggled into the USA carrying a pair of secret messages – one from her mother and one from the Mexican underworld.

    During an exceptionally hot summer, the young married couple move in, and Asa does her best to quickly adjust to their new rural lives, to their remoteness, to the constant presence of her in-laws and the incessant buzz of cicadas. While her husband is consumed with his job, Asa is left to explore her surroundings on her own: she makes trips to the supermarket, halfheartedly looks for work, and tries to find interesting ways of killing time.       One day, while running an errand for her mother-in-law, she comes across a strange creature, follows it to the embankment of a river, and ends up falling into a hole—a hole that seems to have been made specifically for her. This is the first in a series of bizarre experiences that drive Asa deeper into the mysteries of this rural landscape filled with eccentric characters and unidentifiable creatures, leading her to question her role in this world, and eventually, her sanity.