With an abiding curiosity and poetic ease, Oliver leads us through the underground city of Cappadocia, explores the vicissitudes of a Berlin marked by historical fracture, recalls a shocking childhood exodus, and recreates the intimacy of the spaces we inhabit. Blending criticism, reportage, and a travel writing all her own, Oliver presents a brilliant collection of essays that asks us what it means to leave the familiar behind and make the unfamiliar our own.Migratory Birds is part of the Undelivered Lectures series from Transit Books.

    His love for these authors is the touchstone of Written Lives. Collected here are twenty pieces recounting great writers' lives, "or, more precisely, snippets of writers' lives." Thomas Mann, Rilke, Arthur Conan Doyle, Turgenev, Djuna Barnes, Emily Brontë, Malcolm Lowry, and Kipling appear ("all fairly disastrous individuals"), and "almost nothing" in his stories is invented.Like Isak Dinesen (who "claimed to have poor sight, yet could spot a four-leaf clover in a field from a remarkable distance away"), Marías has a sharp eye. Nabokov is here, making "the highly improbable assertion that he is 'as American as April in Arizona,'" as is Oscar Wilde, who, in debt on his deathbed, ordered up champagne, "remarking cheerfully, 'I am dying beyond my means.'" Faulkner, we find, when fired from his post office job, explained that he was not prepared "to be beholden to any son-of-a-bitch who had two cents to buy a stamp." Affection glows in the pages of Written Lives, evidence, as Marías remarks, that "although I have enjoyed writing all my books, this was the one with which I had the most fun."

    Her idea blossomed into this striking and highly original work of narrative nonfiction, an account of her search for meaning within the stories of her ancestors.In a series of short meditations, Petrowskaja delves into family legends, introducing a remarkable cast of characters: Judas Stern, her great-uncle, who shot a German diplomatic attaché in 1932 and was sentenced to death; her grandfather Semyon, who went underground with a new name during the Bolshevik Revolution in Russia, forever splitting their branch of the family from the rest; her grandmother Rosa, who ran an orphanage in the Urals for deaf-mute Jewish children; her Ukrainian grandfather Vasily, who disappeared during World War II and reappeared without explanation forty-one years later—and settled back into the family as if he’d never been gone; and her great-grandmother, whose name may have been Esther, who alone remained in Kiev and was killed by the Nazis.How do you talk about what you can’t know, how do you bring the past to life? To answer this complex question, Petrowskaja visits the scenes of these events, reflecting on a fragmented and traumatized century and bringing to light family figures who threaten to drift into obscurity. A true search for the past reminiscent of Jonathan Safran Foer’s Everything Is Illuminated, Daniel Mendelsohn’s The Lost, and Michael Chabon’s Moonglow, Maybe Esther is a poignant, haunting investigation of the effects of history on one family.

    Conceptual and emotionally compelling, it advances fearlessly into the frozen emotional lacunae of difficult family relationships. Deserved winner of multiple awards upon its Catalan and Spanish publication, Brother in Ice is a richly rewarding journey into the unknown.

    There has been much international excitement too-to date, rights have been sold in thirteen countries. Wolf Totem is set in 1960s China-the time of the Great Leap Forward, on the eve of the Cultural Revolution. Searching for spirituality, Beijing intellectual Chen Zhen travels to the pristine grasslands of Inner Mongolia to live among the nomadic Mongols-a proud, brave, and ancient race of people who coexist in perfect harmony with their unspeakably beautiful but cruel natural surroundings. Their philosophy of maintaining a balance with nature is the ground stone of their religion, a kind of cult of the wolf. The fierce wolves that haunt the steppes of the unforgiving grassland searching for food are locked with the nomads in a profoundly spiritual battle for survival-a life-and-death dance that has gone on between them for thousands of years. The Mongols believe that the wolf is a great and worthy foe that they are divinely instructed to contend with, but also to worship and to learn from. Chen's own encounters with the otherworldly wolves awake a latent primitive instinct in him, and his fascination with them blossoms into obsession, then reverence. After many years, the peace is shattered with the arrival of Chen's kinfolk, Han Chinese, sent from the cities to bring modernity to the grasslands. They immediately launch a campaign to exterminate the wolves, sending the balance that has been maintained with religious dedication for thousands of years into a spiral leading to extinction-first the wolves, then the Mongol culture, finally the land. As a result of the eradication of the wolves, rats become a plague and wild sheep graze until the meadows turn to dust. Mongolian dust storms glide over Beijing, sometimes blocking out the moon. Part period epic, part fable for modern days, Wolf Totem is a stinging social commentary on the dangers of China's overaccelerated economic growth as well as a fascinating immersion into the heart of Chinese culture.

    The city of Beirut is cut in two, separated by bricks and sandbags and threatened by snipers and shelling. East Beirut is for Christians, and West Beirut is for Muslims. When Zeina's parents don't return one afternoon from a visit to the other half of the city and the bombing grows ever closer, the neighbors in her apartment house create a world indoors for Zeina and her brother where it's comfy and safe, where they can share cooking lessons and games and gossip. Together they try to make it through a dramatic day in the one place they hoped they would always be safe--home.

    Croix. He went to America to pursue his education. Along the way he became one of the American Revolution’s most dashing—and unlikely—heroes. Adored by Washington, hated by Jefferson, Hamilton was a lightning rod: the most controversial leader of the American Revolution.She was the well-to-do daughter of one of New York’s most exalted families—feisty, adventurous, and loyal to a fault. When she met Alexander, she fell head over heels. She pursued him despite his illegitimacy, and loved him despite his infidelity. In 1816 (two centuries ago), she shamed Congress into supporting his seven orphaned children. Elizabeth Schuyler Hamilton started New York’s first orphanage. The only “founding mother” to truly embrace public service, she raised 160 children in addition to her own.With its flawless writing, brilliantly drawn characters, and epic scope, The Hamilton Affair will take its place among the greatest novels of American history.

    In a series of lectures, Czapski described the arc and import of Proust’s masterpiece, sketched major and minor characters in striking detail, and movingly evoked the work’s originality, depth, and beauty. Eric Karpeles has translated this brilliant and ­altogether unparalleled feat of the critical imagination into English for the first time, and in a thoughtful introduction he brings out how, in reckoning with Proust’s great meditation on memory, Czapski helped his fellow officers to remember that there was a world apart from the world of the camp. Proust had staked the art of the novelist against the losses of a lifetime and the imminence of death. Recalling that triumphant wager, unfolding, like Sheherazade, the intricacies of Proust’s world night after night, Czapski showed to men at the end of their tether that the past remained present and there was a future in which to hope.Includes an 8-page color insert of Czapski’s lecture notes.

    In 1975, the Khmer Rouge seized power in the capital city of Phnom Penh. Immediately after declaring victory in the war, they set about evacuating the country’s major cities with the brutal ruthlessness and disregard for humanity that characterized the regime ultimately responsible for the deaths of one million citizens.Cartoonist Tian Veasna was born just three days after the Khmer Rouge takeover, as his family set forth on the chaotic mass exodus from Phnom Penh. Year of the Rabbit is based on firsthand accounts, all told from the perspective of his parents and other close relatives. Stripped of any money or material possessions, Veasna’s family found themselves exiled to the barren countryside along with thousands of others, where food was scarce and brutal violence a constant threat.Year of the Rabbit shows the reality of life in the work camps, where Veasna’s family bartered for goods, where children were instructed to spy on their parents, and where reading was proof positive of being a class traitor. Constantly on the edge of annihilation, they realized there was only one choice—they had to escape Cambodia and become refugees. Veasna has created a harrowing, deeply personal account of one of the twentieth century’s greatest tragedies.

    During this monumental odyssey through a seemingly endless blizzard, Herzog documented everything he saw and felt with intense sincerity. This diary is dotted with rants about the extreme cold and utter loneliness, poetic descriptions of the snowy countryside, along with personal philosophizing. What is most remarkable is that the reading of this book flows with the experience of watching his films: through this walk we witness how his images are born. Although he received a literary award for it, this introspective masterpiece has lingered out of print since 1979. Beautifully designed and emotionally impressive, Of Walking in Ice is the first in a color-coded series of remarkable yet long-forgotten titles being republished by Free Association.

    Onward Towards Our Noble Deaths is his first book to be translated into English and is a semiautobiographical account of the desperate final weeks of a Japanese infantry unit at the end of WorldWar II. The soldiers are told that they must go into battle and die for the honor of their country, with certain execution facing them if they return alive. Mizuki was a soldier himself (he was severely injured and lost an arm) and uses his experiences to convey the devastating consequences and moral depravity of the war.Mizuki's list of accolades and achievements is long and detailed. In Japan, the life of Mizuki and his wife has been made into an extremely popular television drama that airs daily. Mizuki is the recipient of many awards, including the Best AlbumAward for his book NonNonBa (to be published in 2012 by D+Q) and the Heritage Essential Award for Onward Towards Our Noble Deaths at the Angoulême International Comics Festival, the Tezuka Osamu Cultural Prize Special Award, the Kyokujitsu Sho Decoration, the Shiju Hosho Decoration, and the KodanshaManga Award.His hometown of Sakaiminato honored him with Shigeru Mizuki Road—a street decorated with bronze statues of his Ge Ge Ge no Kitaro characters—and the Shigeru Mizuki International Cultural Center.

    He begins by returning us to the dying days of Balkan conflict and introduces us to his own fixer; a man looking to squeeze the last bit of profit from Bosnia before the reconstruction begins. Thanks to a complex relationship with the fixer Joe discovers the crimes of opportunistic warlords and gangsters who run the countryside in times of war. But the west is interested in a different spin on the stories coming out of Bosnia. Almost ten years later, Joe meets up with his fixer and sees how the new Bosnian government has "dealt" with these criminals and Joe ponders who is holding the reins of power these days...

    Her mother was a figure, a name, Irène Némirovsky, a once popular novelist, a Russian émigré from an immensely rich family, a Jew who didn’t consider herself one and who even contributed to collaborationist periodicals, and a woman who died in Auschwitz because she was a Jew. To her daughter she was a tragic enigma and a stranger. It was to come to terms with that stranger that Gille wrote, in The Mirador, her mother’s memoirs. The first part of the book, dated 1929, the year David Golder made Némirovsky famous, takes us back to her difficult childhood in Kiev and St. Petersburg. Her father is doting, her mother a beautiful monster, while Irene herself is bookish and self-absorbed. There are pogroms and riots, parties and excursions, then revolution, from which the family flees to France, a country of “moderation, freedom, and generosity,” where at last she is happy. Some thirteen years later Irène picks up her pen again. Everything has changed. Abandoned by friends and colleagues, she lives in the countryside and waits for the knock on the door. Written a decade before the publication of Suite Française made Irène Némirovsky famous once more (something Gille did not live to see), The Mirador is a haunted and a haunting book, an unflinching reckoning with the tragic past, and a triumph not only of the imagination but of love.

    G. Wells' The Time Machine. A lavish feast of exotica brought vividly to life with art commissioned specifically for this volume, The Book of Imaginary Beings will delight readers of classic fantasy as well as Borges' many admirers.

    First published in Norway as two books in 1924 and 1925, the author collaborated with Minnesotan Lincoln Colcord on the English translation.The novel follows a Norwegian family's struggles as they try to make a new life as pioneers in the Dakota territory. Rølvaag is interested in psychology and the human cost of empire building, at a time when other writers focused on the glamor and romance of the West. The book reflects his personal experiences as a settler as well as the immigrant homesteader experience of his wife’s family. Both the grim realities of pioneering and the gloomy fatalism of the Norse mind are captured in depictions of snow storms, locusts, poverty, hunger, loneliness, homesickness, the difficulty of fitting into a new culture, and the estrangement of immigrant children who grow up in a new land. It is a novel at once palpably European and distinctly American.Giants in the Earth was turned into an opera by Douglas Moore and Arnold Sundgaard; it won the Pulitzer Prize for Music in 1951.