Told with a feather-light touch and masterful compassion, this is a story for those moments when we catch ourselves talking to the furniture.

    Oct. 4, 2017. R.O. Kwon"Lorde seems prophetic, perhaps alive right now, writing in and about the US of 2017 in which a misogynist with white supremacist followers is president. But she was born in 1934, published her first book of poetry in 1968, and died in 1992. Black, lesbian and feminist; the child of immigrant parents; poet and essayist, writer and activist, Lorde knew about harbouring multitudes. Political antagonists tried, for instance, to discredit her among black students by announcing her sexuality, and she decided: “The only way you can head people off from using who you are against you is to be honest and open first, to talk about yourself before they talk about you.” Over and over again, in the essays, speeches and poems collected in Your Silence Will Not Protect You, Lorde emphasises how important it is to speak up. To give witness: “What are the words you do not yet have? What do you need to say? What are the tyrannies you swallow day by day and attempt to make your own, until you will sicken and die of them, still in silence?” '

    It has nothing performative, only secretive. […] It is all of an incredible sensitivity/finesse.’ Olivia de Lamberterie, Elle ‘It is an album of destinies. They each have their décor. They talk of first frosts, of the wood that must be entered, of the huge rubbish tips of life, of the disorder of houses. Of beds that are no longer made because they are too often occupied. Of the warmth of being at home and of finding oneself. This essential truth of what we are. Emmanuelle Pagano sends every reader back to familiar territory. Her book is full of discreet and recognisable emotion.’ Xavier Houssin, Le Monde ‘Under her pen which is an eye, Pagano exalts the wastage of time, its grand affair. Time and its ‘arbitrary wing’ as Lord Byron said. In this little game of references, it’s the sharp eye of Duras, that of La Vie materielle, that must be evoked, or of Violette Leduc and the essential fantasy of Emily Dickinson. Emmanuelle Pagano: remember her name!’ Thierry Clermont, Le Figaro ‘Prosaic but never vulgar, Emmannuelle Pagano dissects lovers’ promiscuity, interrogates the cartography of our emotional lives.’ Clémentine Goldszal, Les Inrockuptibles ‘Seizing reality at that troubling junction between the quotidian and the extraordinary, the banal and the poetic, this literary package/machine with no equivalent unknots the internal ‘ball of string’ where hides the points of departure or arrival, of love in a life or a night, of a daily rhythm or a sudden surprise.’ Alexandre Gefen, Le magazine littéraire

    He does not have friends—the two almond-shaped neurons located deep in his brain have seen to that—but his devoted mother and grandmother aren’t fazed by his condition. Their little home above his mother’s used bookstore is decorated with colorful post-it notes that remind him when to smile, when to say "thank you," and when to laugh. Yunjae grows up content, even happy, with his small family in this quiet, peaceful space.Then on Christmas Eve—Yunjae’s sixteenth birthday—everything changes. A shocking act of random violence shatters his world, leaving him alone and on his own. Struggling to cope with his loss, Yunjae retreats into silent isolation, until troubled teenager Gon arrives at his school and begins to bully Yunjae. Against all odds, tormentor and victim learn they have more in common than they realized. Gon is stumped by Yunjae’s impassive calm, while Yunjae thinks if he gets to know the hotheaded Gon, he might learn how to experience true feelings. Drawn by curiosity, the two strike up a surprising friendship. As Yunjae begins to open his life to new people—including a girl at school—something slowly changes inside him. And when Gon suddenly finds his life in danger, it is Yunjae who will step outside of every comfort zone he has created to perhaps become a most unlikely hero. The Emissary meets The Curious Incident of the Dog in the Nighttime in this poignant and triumphant story about how love, friendship, and persistence can change a life forever.

    It is translated from the Spanish by Australian translator Alice Whitmore All My Goodbyes is a novel told in overlapping vignettes, which follow the travels of a young Argentinian woman across Europe (Malaga, Madrid, Heidelberg, Berlin) and back to Argentina (Buenos Aires, Patagonia) as she flees from situation to situation, job to job, and relationship to relationship. Within the complexity of the narrator's situation, a backstory emerges about a brutal murder in Patagonia which she may or may not be implicated in, but whether this is the cause of her flight is never entirely clear - she is driven as much by psychological concerns, her relationship with her father, uncertainty about her identity and purpose in life.The novella is, as the title suggests, a catalogue of goodbyes, the result of a decade-long cycle of self-inflicted alienation which the narrator, despite herself, seems fated to perpetuate. In its structure it recalls the rich Argentinian tradition of Cortazar and Borges; its language is by turns stark and elaborate, brutal in its economy and yet poetic in its imagery.

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    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.

    With these metaphors in place, he makes clear his difficult poetic task: to delve into the past, both personal and historic, while remaining ever mindful of the potentially fatal power of language.Born and raised in Northern Ireland, where any hint of Gaelic tradition in one's speech was considered a political act, Heaney is all too aware of the dire consequences of speaking one's mind. Indeed, during times of crisis, he has been expected to appear on television and dispense political wisdom. Most often, however, he stays out of the fray and opts for a supreme sense of empathy to guide his words. As excavator--of earth, of his beloved Gaelic, of his own life--Heaney is unmatched. In "Bone Dreams", the archaeologist's task is synonymous with reaching for a cultural past: I push back through dictions, Elizabethan canopies, Norman devices, the erotic mayflowers of Provence and the ivied Latins of churchmen to the scop's twang, the iron flash of consonants cleaving the line.And in early poems like "Blackberry Picking", Heaney's images--deftly, delightfully--carry us back to childhood fields: At first, just one, a glossy purple clot Among others, red, green, hard as a knot. You ate that first one and its flesh was sweet Like thickened wine: summer's blood was in it Leaving stains upon the tongue and lust for Picking. Then red ones inked up and that hunger Sent us out with milk cans, pea tins, jam pots Where briars scratched and wet grass bleached our boots. Round hayfields, cornfields and potato drills We trekked and picked until the cans were full... Opened Ground is a pleasure and a triumph. These three decades of work confirm Heaney as one of the most important poets of his time. --Martha Silano

    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.

    Finney’s poetic voice is defined by an intimacy that holds a soft yet exacting eye on the erotic, on uncanny political and family events, like her mother’s wedding waltz with South Carolina senator Strom Thurmond, and then again on the heartbreaking hilarity of an American president’s final State of the Union address.Artful and intense, Finney’s poems ask us to be mindful of what we fraction, fragment, cut off, dice, dishonor, or throw away, powerfully evoking both the lawless and the sublime.

    An elderly couple embark on a fishing boat in a harrowing journey to find their son, hoping that he has survived a bombing in the Pacific. A Japanese orphaned woman's past revisits her with devastating consequences in a wartime hospital. A case of mistaken identity compels a husband and wife to question the foundation upon which their lives have been built. An AWOL American soldier finds refuge in a small farming community, unknowingly endangering its inhabitants. And in the celebrated title story, a horrific accident at sea becomes the catalyst for an unlikely friendship between an American widow and a young waiter at a coastal resort.These stories capture, with lyrical precision, the moments in which lives shift and unravel -- ;where loss is ultimately turned into a search for reconciliation, and where the silences that pass between lovers and siblings, between parents and their children, are as powerful as the reverberations of war. Novelistic in scope, daring in its varied environments, Once the Shore introduces a remarkable new voice in international fiction.

    Wiola has a black cat called Blackie. Wiola's father was a deserter but now he is a taxidermist. Wiola's mother tells her that killing spiders brings on storms. Wiola must never enter the seamstress's 'secret' room. Wiola collects matchbox labels. Wiola is a good Catholic girl brought up with fables and nurtured on superstition. Wiola lives in a Poland that is both very recent and lost in time.Swallowing Mercury is about the ordinary passing of years filled with extraordinary days. In vivid prose filled with texture, colour and sound, it describes the adult world encroaching on the child's. From childhood to adolescence, Wiola dances to the strange music of her own imagination.