Mikhail extensively interviews these women—who’ve lost their families and loved ones, who’ve been sexually abused, psychologically tortured, and forced to manufacture chemical weapons—and as their tales unfold, an unlikely hero emerges: a beekeeper, who uses his knowledge of the local terrain, along with a wide network of transporters, helpers, and former cigarette smugglers, to bring these women, one by one, through the war-torn landscapes of Iraq, Syria, and Turkey, back into safety.In the face of inhuman suffering, this powerful work of nonfiction offers a counterpoint to Daesh’s genocidal extremism: hope, as ordinary people risk their own lives to save those of others.

    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.

    Fluorescent tubes on the ceiling hummed with blue light. The woman smiled and explained in a soothing voice that there were some “procedures” they had to go through. “We’re just going to put you under for a few minutes,” she said. One of the officials told me to turn around..“Do I have a choice?” I lowered my pants, exposing most of my left butt cheek.  The woman came up from behind me, and I felt a sharp prick as she pushed in the needle and rammed the solution into my muscle. When she finished, I sat down. “Which agency do you work for? CIA?” asked the other male official. “I operate independently,” I said. I started to feel good. Very good. I had the urge to laugh, even though nobody had said anything funny. “I’m a lone wolf. And I make burgers for a living. I’m a burger-making lone wolf.”I must have blacked out for some of it. When I opened my eyes again, the two men were there, but the woman was gone. I wiped my nose, and my hand came away bloody. I suddenly felt so sick and dizzy I thought I’d had a stroke. “What the fuck?In Pyongyang in 1994, Robert Egan was given Sodium Pentathol, or “truth serum,” by North Korean agents trying to determine his real identity. What was he doing in the world’s most isolated nation---while the U.S. government recoiled at its human-rights record and its quest for dangerous nukes? Why had he befriended one of North Korea’s top envoys to the United Nations? What was Egan after? Fast-paced and often astounding, Eating with the Enemy is the tale of a restless restaurant owner from a mobbed-up New Jersey town who for thirteen years inserted himself into the high-stakes diplomatic battles between the United States and North Korea.Egan dropped out of high school in working-class Fairfield, New Jersey, in the midseventies and might have followed his father’s path as a roofing contractor. But Bobby had bigger plans for himself, and after a few years wasted on drugs and petty crime, his life took an astonishing turn when his interest in the search for Vietnam-era POWs led to an introduction in the early nineties to North Korean officials desperate to improve relations with the United States. So Egan turned his restaurant, Cubby’s, into his own version of Camp David. Between ball games, fishing trips, and heaping plates of pork ribs, he advised deputy ambassador to the United Nations, Han Song Ryol, and other North Koreans during tumultuous years that saw the death of Kim Il-sung and the rise of Kim Jong-il, false starts toward peace during the Clinton administration, the Bush “Axis of Evil” era, and North Korea’s successful test of a nuclear weapon in 2006. All the while, Egan informed for the FBI, vexed the White House with his meddling, chaperoned the communist nation’s athletes on hilarious adventures, and nearly rescued a captured U.S. Navy vessel---all in the interest of promoting peace.Egan parses U.S. foreign policy with a mobster’s street smarts, and he challenges the idea that the United States should not have relations with its adversaries. The intense yet unlikely friendship between him and Ambassador Han provides hope for better relations between enemy nations and shows just how far one lone citizen can go when he tries to right the world’s wrongs.

    I think I have under control the reluctance I feel in having to share Pessoa with the public he should have had all along in America: until now, only the poets, so far as I can tell, have even heard of him, and delighted and exulted in him. He is, in some ways, the poet of modernism, the only one willing to fracture himself into the parcels of action, anguish, and nostalgia which are the grounds of our actual situation." —C. K. Williams"Pessoa is one of the great originals (a fact rendered more striking by his writing as several distinct personalities) of the European poetry of the first part of this century, and has been one of the last poets of comparable stature, in the European languages, to become known in English. Edwin Honig's translations of Spanish and Portuguese poetry have been known to anyone who cares about either, since his work on Lorca in the forties, and his Selected Poems of Pessoa (1971) was a welcome step toward a long-awaited larger colection." — W. S. Merwin"Fernando Pessoa is the least known of the masters of the twentieth-century poetry. From his heteronymic passion he produced, if that is the word, two of our greatest poets, Alberto Caeiro and Álvaro de Campos, and a third, Ricardo Reis, who isn't bad. Pessoa is the exemplary poet of the self as other, of the poem as testament to unreality, proclamation of nothingness, occasion for expectancy. In Edwin Honig's and Susan Brown's superb translations, Pessoa and his "others" live with miraculous style and vitality." —Mark StrandFernando Pessoa is Portugal’s most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote sublime poetry under his own name as well, and each of his “voices” is completely different in subject, temperament, and style. This volume brings back into print the comprehensive collection of his work published by Ecco Press in 1986.

    For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He’d slap a tree across the face. He’d rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he’d rather write odes to Aretha Franklin and Hole. While he’s adamant—bratty, even—about his distaste for the word “natural,” over the course of the book we see him confronting the assimilationist, historical, colonial-white ideas that collude NDN people with nature. The closer his people were identified with the “natural world,” he figures, the easier it was to mow them down like the underbrush. But Teebs gradually learns how to interpret constellations through his own lens, along with human nature, sexuality, language, music, and Twitter. Even while he reckons with manifest destiny and genocide and centuries of disenfranchisement, he learns how to have faith in his own voice.

    Short of achieving that end, these mysterious, unassuming poems investigate the human violence and dispossession increasingly prevalent around the world, as well as the horrors the poet grew up with as a child of refugees. Lee draws from disparate sources, including the Old Testament, the Dao De Jing, and the music of the Wu Tang Clan. While the ostensive subjects of these layered, impassioned poems are wide-ranging, their driving engine is a burning need to understand our collective human mission.

    Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker’s place in history and diaspora through mythmaking and cooking, which is to say, conjuring.

    In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    His most recent volumes of poetry are Rooms Are Never Finished and The Country Without a Post Office. He is also the editor of Ravishing Disunities: Real Ghazals in English.

    Xinran made the trip and met the woman, called Shu Wen, who recounted the story of her thirty-year odyssey in the vast landscape of Tibet.Shu Wen and her husband had been married for only a few months in the 1950s when he joined the Chinese army and was sent to Tibet for the purpose of unification of the two countries. Shortly after he left she was notified that he had been killed, although no details were given. Determined to find the truth, Shu Wen joined a militia unit going to the Tibetan north, where she soon was separated from the regiment. Without supplies and knowledge of the language, she wandered, trying to find her way until, on the brink of death, she was rescued by a family of nomads under whose protection she moved from place to place with the seasons and eventually came to discover the details of her husband's death.In the haunting Sky Burial, Xinran has recreated Shu Wen's journey, writing beautifully and simply of the silence and the emptiness in which Shu Wen was enveloped. The book is an extraordinary portrait of a woman and a land, each at the mercy of fate and politics. It is an unforgettable, ultimately uplifting tale of love, loss, loyalty, and survival.

    The seventeen-syllable form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku has served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams and also as an example of spontaneity and Zen alertness to the new poets of the 1950s. This definitive collection brings together in fresh translations by an American poet the essential poems of the three greatest haiku masters: Matsuo Basho in the seventeenth century; Yosa Buson in the eighteenth century; and Kobayashi Issa in the early nineteenth century. Robert Hass has written a lively and informed introduction, provided brief examples by each poet of their work in the haibun, or poetic prose form, and included informal notes to the poems. This is a useful and inspiring addition to the Essential Poets series.

    Opening with a blessing from Pulitzer Prize–winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from traditional oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Diné poet born in 1991, and including renowned writers such as Luci Tapahanso, Natalie Diaz, Layli Long Soldier, and Ray Young Bear. When the Light of the World Was Subdued, Our Songs Came Through offers the extraordinary sweep of Native literature, without which no study of American poetry is complete.

    But how much do you know about the real Korea; the locals' take on their amazing country? That's where this illuminating culture guide comes in, shining a light on Korea’s compelling history and stunning geography, its unique customs and the quirks of daily life. The mainstays of Korea’s vibrant cultural life and style are covered in detail, giving you the lowdown on the country's burgeoning film industry, Korean's unique take on fandom, the quirky fashion scene and the innovative hubs for art and design. If you ever have wanted to learn how to date like a Korean, know where the locals hang out in Seoul, honeymoon like Korean newlyweds, discover the correct way to eat Korean food or use the art of nunchi to improve your emotional intelligence, this insider’s guide to the heart and soul of Korea is not to be missed.  From the How To Live... series of insightful guides to some of the most intriguing cultures and locations on the planet, other books available include How To Live Japanese, How To Live Icelandic and How to Live North.

    Then disaster struck: the first wave of the Great Famine, a long, terrible ordeal that killed millions, including his father, and sent others, like his mother and only sister, on desperate escape routes into China. Alone on the streets, Joseph learned to beg and steal. He had nothing but a street-hardened survival instinct. Finally, in desperation, he too crossed a frozen river to escape to China. There a kindly Christian woman took him in, kept him hidden from the authorities, and gave him hope. Soon, through an underground network of activists, he was spirited to the American consulate, and became one of just a handful of North Koreans to be brought to the U.S. as refugees. Joseph knew no English and had never been a good student. Yet the kindness of his foster family changed his life. He turned a new leaf, became a dedicated student, mastered English, and made it to college, where he is now thriving thanks to his faith and inner strength. Under the Same Sky is an unforgettable story of suffering and redemption.