Mugezi's hard-won observations form a cri de coeur for a people shaped by untold losses.

    Despite all the tortures and cruelties, this is a moving testimony of a woman who started from the very bottom of society but who is aiming for the very top.

    Pearce and Rehana begin a passionate illicit love affair, which resonates fifty years later when the narrator’s brother falls madly in love with Rehana’s granddaughter. In the story of two forbidden love affairs and their effects on the lovers’ families, Abdulrazak Gurnah brilliantly dramatizes the personal and political consequences of colonialism, the vicissitudes of love, and the power of fiction.

    Lying about her age, she gets work on an assembly line in West Berlin making radios, and lives in a women's factory hostel.'The Bridge of the Golden Horn' is a witty, picaresque account of a precocious teenager refusing to become wise; of a hectic four years lived between Berlin and Istanbul; of a young woman who is obsessed by theatre, film, poetry and left-wing politics.

    Instead of ascribing to the Communist Party's goal of "spiritual civilization", he shunned the heroic models common in Chinese literature. Playing for Thrills is the first book published in English from the man whom Newsweek calls "China's literary bad boy" and The Washington Post acclaims as "the irreverent voice of a disillusioned generation".With shades of Chandler and Kerouac, Playing for Thrills is a dark, disembodied, yet compelling story of an anti-hero's search for the truth about a mysterious murder. As the narrator drifts through the seamy underside of Beijing and its environs, he meets a handful of incredibly varied characters as jaded and enigmatic as himself.

    Everyone in Cape Verde knows Señor da Silva. Successful entrepreneur, owner of the island's first automobile, a most serious, upright, and self-made businessman, Señor da Silva is the local success story. Born an orphan, he never married, he never splurged; one good suit was good enough for him; and he never wandered from the straight and narrow. Or so everyone thought. But when Señor da Silva's 387-page Last Will and Testament is read aloud; a marathon task on a hot afternoon which exhausts reader after reader; there's eye-opening news, and not just for the smug nephew so certain of inheriting all Señor da Silva's property. With his will, Señor da Silva leaves a memoir that is a touching web of elaborate self-deceptions. He desired so ardently to prosper, to be taken seriously, to join (perhaps, if they'll have him) the exclusive Grémio country club, and, most of all, to be a good man. And yet, shady deals, twists of fate, an illegitimate child: such is the lot of poor, self-critical Señor da Silva. A bit like Calvino's Mr. Palomar in his attention to protocol and in his terror of life's passions; a bit like Svevo's Zeno (a little pompous, a little old-fashioned, and often hapless), Señor da Silva moves along a deliciously blurry line between farce and tragedy: a self-important buffoon becomes a fully human, even tragic, figure in the arc of this hilarious and touching novel - translated into Spanish, German, French, Italian, Dutch, Norwegian, Swedish, and now, at last, English.

    The conventions of the Egyptian upper-middle class are laid bare in this dazzling novel, which exposes startling sexual hypocrisies and portrays a now vanished polyglot world of horse-racing, seaside promenades, and elegant night clubs. Hamdi-Ali senior is an old-time patriarch with more than a dash of strong Turkish blood. His handsome elder son, a promising horse jockey, can't afford sexual frustration, as it leads him to overeat and imperil his career, but the woman he lusts after won't let him get beyond undoing a few buttons. Victor, the younger son, takes his pleasure with other boys. But the true heroine of the story—richly evoked in a pungent upstairs/downstairs mix—is the raucous, seductive city of Alexandria itself. Published in Hebrew in 1978, Alexandrian Summer appears now in translation for the first time.Yitzhak Gormezano Goren was born in Alexandria, Egypt, in 1941 and immigrated to Israel as a child. A playwright and novelist, Goren studied English and French literature at the Hebrew University of Jerusalem and Tel Aviv University. In 1982, he cofounded the Bimat Kedem Theater.“Helps show why postwar Alexandria inspires nostalgia and avidity in seemingly everyone who knew it … The result is what summer reading should be: fast, carefree, visceral, and incipiently lubricious.”— The New Yorker“Luminous … One of the great triumphs of Alexandrian Summer is the richness of the evocation of this city and the multiple cultures pressed within it … A sultry eroticism pervades.”— The Forward"Alexandria, a lush paradise by the sea, comes to antic, full-bodied life ... Gormezano Goren’s characters are vividly depicted as they grow up or grow older in a city of conflicting loyalties, riven by resentment, ready to revolt. Readers will be transported."—Publishers Weekly"This novel recalls one gloriously golden summer in a cosmopolitan city on the verge of upheaval ... Fluidly written and soberly enticing."—Library Journal"A gifted writer ... Gormezano Goren defines the city and its ambiance in lush, sensuous terms ... He also describes so well the Diaspora Jew’s knack for downplaying the danger of gathering storms of hatred, a tendency not limited to Alexandria or to any particular era of exile."—The Jerusalem Post"A powerful novel of tensions–sexual, familial, religious, and political–and an affecting but unsparing portrait of the petit bourgeois world of Egyptian Jews standing obliviously on the edge of a precipice. Alexandria-–sensual and enchanting-–shimmers in these pages." —Dalia Sofer, author of The Septembers of Shiraz"A fine work of art . . . riveting from the first page to the last."—Zo Haderekh"A reason to rejoice. . . . You can't help but keep on smiling with great pleasure."—Maariv"A profound literary experience."—Ahshav

    That's where the deepest graves are. But no one knows about it.'A young man grows up in a town with a sinister history. The concentration camp may have been liberated years ago, but its walls still cast their long shadows and some of the inhabitants are quite determined to not to allow anyone to forget. When the camp is marked for demolition, one of the survivors begins a campaign to preserve it, quickly attracting donations from wealthy benefactors, a cult-like following of young travellers, and a steady stream of tourists buying souvenir t-shirts. But before long, the authorities impose a brutal crack-down, leaving only an 'official' memorial and three young collaborators whose commitment to the act of remembering will drive them ever closer to the evils they hoped to escape.Bold, brilliant and blackly comic, The Devil's Workshop paints a deeply troubling portrait of a country dealing with its ghosts and asks: at what point do we consign the past to history?

    Gradually it becomes apparent that the local church men have been using the local girls for their own purposes. This novel is a biting critique of colonial life and missionary activity.

    Skip forward sixty years, and Crimea is a booming Hong Kong to the U.S.S.R.’s China. To the contemporary Soviet reader, almost every word in that opening sentence invited giggles of dizzy disorientation.

    What happens when an old man wakes up one morning and finds that everything around him now fills with revulsion? What happens when Faleasa Osovae, the highest ranking alii in the village of Maalaelua, feigns madness and throws away his responsibilities as a chief?Albert Wendt is a Samoan, this novel plays in Samoa and gives a good feel for the Samoan way of life and gives also an idea how New Zealand affected it.

    To the young woman's community, his fleeing confirms his guilt, setting off a chain reaction of pursuit, mob justice, and Nyamugari's attempts at explanation. Young Burundian novelist Roland Rugero's second novel Baho!, the first Burundian novel to ever be translated into English, explores the concepts of miscommunication and justice against the backdrop of war-torn Burundi's beautiful green hillsides.

    It is an account of death, but also an affirmation of life. Tangi describes simply and sincerely, the Maori values placed on life; and on aroha, love and sympathy for each other.

    Credited with revitalizing the short story as a genre in Russian literature, he was posthumously honored with the Soviet Union's highest literary prize following his untimely death at the age of forty-five. Stories from a Siberian Village introduces Shukshin to English readers with twenty-five stories that reflect the Siberian origins of his artistic identity. These stories, most of which have never before appeared in English, are set in a remote Siberian village caught in transition between rural traditions and modern Soviet life. There Shukshin's peasants—survivors of revolution, collectivization, and war—seek their identity in a "brave new world." Eccentrics and oddballs, Shukshin's protagonists are restless freedom seekers whose dreams and foibles are as broad and inexplicable as their native Siberian landscape. As touchy as artists and as unpretentious as truck drivers, they struggle with questions of life and death, faith and reason, custom and progress. From their mutual misapprehensions and the gap between their dreams and reality arises Shukshin's biting humor.

    Darcie Friesen Hossack's stories in Mennonites Don't Dance offer an honest, detailed look into the experiences of children - both young and adult - and their parents and grandparents, exploring generational ties, sins, penance, and redemption. Taking place primarily on the Canadian prairies, the families in these stories are confronted by the conflict between tradition and change. One story sees a daughter-in-law's urban ideals push and pull against a mother's simple, rural, ways. In another, a daughter raised in the Mennonite tradition tries to break free from her upbringing to escape to the city in search of a better life.