a landmark debut' Guardian'Oh my God, he's just stirring me. Destroying me' Michaela Coel'A poet of truth and rage, heartbreak and joy' Max Porter'Takes us into new literary territory ... impressive' Bernardine Evaristo, New Statesman (Books of the Year)'It's simply stunning. Every image is a revelation' Terrance HayesWhat is it like to grow up in a place where the same police officer who told your primary school class they were special stops and searches you at 13 because 'you fit the description of a man' - and where it is possible to walk two and a half miles through an estate of 1,444 homes without ever touching the ground?In Poor, Caleb Femi combines poetry and original photography to explore the trials, tribulations, dreams and joys of young Black boys in twenty-first century Peckham. He contemplates the ways in which they are informed by the built environment of concrete walls and gentrifying neighbourhoods that form their stage, writes a coded, near-mythical history of the personalities and sagas of his South London youth, and pays tribute to the rappers and artists who spoke to their lives.Above all, this is a tribute to the world that shaped a poet, and to the people forging difficult lives and finding magic within it. As Femi writes in one of the final poems of this book: 'I have never loved anything the way I love the endz.'

    These fifteen compact stories are meticulously observed glimpses of everyday life that expose the ominous lurking under the ordinary. While his wife sleeps, a husband prowls the Internet, obsessed with female serial killers; a bureaucrat tries to reinvent himself, exposing goodness as artifice when he converts to Buddhism in search of power; a woman sits on the edge of the bed where her lover lies, attempting to locate a motive for his violence within her own self-doubt. Shifting between moments of violence (real and imagined) and mundane contemporary life, these stories encompass the complexity of human emotions, our capacity for cruelty as well as compassion. Not so much minimalist as stealthy, Karate Chop delivers its blows with an understatement that shows a master at work.

    Blythe Baird deftly and uniquely charts a course through various modes of womanhood and women's bodies. Through love, loss, and the struggles of disordered eating, If My Body Could Speak uses sharp narratives and visceral imagery to get to the heart of a many-layered existence, speaking to many generations at once.

    Battered but never beaten, this narrator finds salvation in ecstatic communion with the gods of jazz and especially boxing: “O Tommy Hearns, O blood come down,” she prays. “Find your way to Hungerford where my/father glowers over me. Show him/how the bag does penance.” In such prayers she finds the strength to survive the home she has to leave and, once she does, the strength to face the fires she finds flaring the country over, from Los Angeles to Laramie. Apocalyptic Swing is a work of unbelievable force, a devastating and glorious testimony about America—its lore, disappointments, and promise.

    Serving customers ice cream all summer long, she is desperate for some kind of escape.But one afternoon, a terrible lie slips from her tongue. And suddenly everyone wants to talk to her: the press, her schoolmates, and even the boy upstairs. He is the only one who knows the truth, and he is demanding a price for his silence.Then Nofar meets Raymonde, an elderly immigrant whose best friend has just died. Raymonde keeps her friend alive the only way she knows how, by inhabiting her stories. But soon, Raymonde's lies take on a life of their own.Written with propulsive energy, dark humor, and deep insight, The Liar reveals the far-reaching consequences of even our smallest choices, and explores the hidden corners of human nature to reveal the liar, and the truth-teller, in all of us.

    But, in East Berlin, as she is preparing to present her paper in Russian on “Vietnam as a Victim of American Imperialism,” she is abruptly kidnapped and taken to a small town in West Germany. After a strange spell of domestic-sexual boredom with her lover-abductor—and though “the Berlin Wall was said to be more difficult to break through than the Great Wall of China” — she escapes on a train to Moscow . . . but mistakenly arrives in Paris. Alone, broke, and in a completely foreign land, Anh (her false name) loses herself in the films of Catherine Deneuve as her real adventures begin.Dreamy, meditative, and filled with the gritty everyday perils of a person living somewhere without papers (at one point Anh is subjected to some vampire-like skin experiments), The Naked Eye is a novel that is as surprising as it is delightful—each of the thirteen chapters titled after and framed by one of Deneuve’s films. “As far as I was concerned,” the narrator says while watching Deneuve on the screen, “the only woman in the world was you, and so I did not exist.” By the time 1989 comes along and the Iron Curtain falls, story and viewer have morphed into the dislocating beauty of both dancer and dance.

    Charting her way through an ill-advised marriage, Soo-Ja must navigate the intrigue and dangers of living with her conniving in-laws, all the while longing for her true love of the past, the elusive Doctor Yul. And when he enters her life again, Soo-Ja is confronted with a final chance at happiness, but must make a mother’s ultimate choice.Epic and intimate, Park’s debut offering—based on his own mother’s story—is a snapshot of a nation rising from a poor, rural country into a major world power in the aftermath of a devastating war. This Burns My Heart evokes a strong sense of place and era reminiscent of Sarah Waters, and the richly drawn characters and exploration of women’s changing roles brings to mind Lisa See.

    Sassafrass, Cypress and Indigo is the story of three "colored girls," three sisters and their mama from Charleston, South Carolina: Sassafrass, the oldest, a poet and a weaver like her mother, gone north to college, living with other artists in Los Angeles and trying to weave a life out of her work, her man, her memories and dreams; Cypress, the dancer, who leaves home to find new ways of moving and easing the contractions of her soul; Indigo, the youngest, still a child of Charleston—"too much of the south in her"—who lives in poetry, can talk to her dolls, and has a great gift of seeing the obvious magic of the world.

    For Jhumpa Lahiri, that love was for Italian, which first captivated and capsized her during a trip to Florence after college. And although Lahiri studied Italian for many years afterward, true mastery had always eluded her. So in 2012, seeking full immersion, she decided to move to Rome with her family, for “a trial by fire, a sort of baptism” into a new language and world. In Rome, Lahiri began to read, and to write—initially in her journal—solely in Italian. In Other Words, an autobiographical work written in Italian, investigates the process of learning to express oneself in another language, and describes the journey of a writer seeking a new voice. Presented in a dual-language format, it is a book about exile, linguistic and otherwise, written with an intensity and clarity not seen since Nabokov. A startling act of self-reflection and a provocative exploration of belonging and reinvention.

    Expanding the palette of contemporary surrealism while harkening back to the stories and prayers at the origin of poetry, DESTRUCTION MYTH is a series of absurdist myths of creation and destruction that are at times both inventively silly and surprisingly emotionally direct. This book attempts the world again and again, only to find that even the most ridiculous of creations contains the seeds of its own destruction.

    Using the lyrical magic realism style of classical Persian storytelling, Azar draws the reader deep into the heart of a family caught in the maelstrom of post-revolutionary chaos and brutality that sweeps across an ancient land and its people. The Enlightenment of the Greengage Tree is really an embodiment of Iranian life in constant oscillation, struggle and play between four opposing poles: life and death; politics and religion. The sorrow residing in the depths of our joy is the product of a life between these four poles.

    How does she do it? No one knows. But here, in her newest collection, I Am the Brother of XX, she does it again. Like a magician or a master criminal, who can say how she gets away with it, but whether the stories involve famous writers (Calvino, Ingeborg Bachmann, Joseph Brodsky) or baronesses or 13th-century visionaries or tormented siblings bred up in elite Swiss boarding schools, they somehow steal your heart. And they don’t rest at that, but endlessly disturb your mind.

    The poems mythologize family histories until they break open, using them to explore aspects of Sudan’s history of colonial occupation, dictatorship, and diaspora. Several of the poems speak to the late Egyptian singer Abdelhalim Hafez, who addressed many of his songs to the asmarani—an Arabic term of endearment for a brown-skinned or dark-skinned person. Elhillo explores Arabness and Africanness and the tensions generated by a hyphenated identity in those two worlds.No longer content to accept manmade borders, Elhillo navigates a new and reimagined world. Maintaining a sense of wonder in multiple landscapes and mindscapes of perpetually shifting values, she leads the reader through a postcolonial narrative that is equally terrifying and tender, melancholy and defiant.

    These poems bear witness to survival in the face of brutality, while also elegizing two brothers haunted by shame, two lovers hounded by death, and an America wounded by war and numbered by religion. Brown summons myth, fable, and fairytale not to merely revise the Bible—more so to write the kind of lyric poetry we find at the source of redemption—for the profane and for the sacred.

    A large and important collection by one of Eastern Europe's major contemporary poets.