With her first taste of dirt, she learns the horrifying truth of her mother’s death. Disturbed by what she witnesses, the woman keeps her visions to herself. But when Earth-eater begins an unlikely relationship with a withdrawn police officer, word of her ability begins to spread, and soon desperate members of her community beg for her help, anxious to uncover the truth about their own loved ones.Surreal and haunting, spare yet complex, Earth-eater is a dark, emotionally resonant tale told from a feminist perspective that brilliantly explores the stories of those left behind—the women enduring the pain of uncertainty, whose lives have been shaped by violence and loss.

    For the first time in paperback--a volume of thirty-seven diabolically inventive stories, fables, and "impossible interviews" from one of the great fantasists of the 20th century, displaying the full breadth of his vision and wit.  Written between 1943 and 1984 and masterfully translated by Tim Parks, the fictions in Numbers in the Dark display all of Calvino's dazzling gifts: whimsy and horror, exuberance of style, and a cheerful grasp of the absurdities of the human condition.

    The novel entwines two equally powerful narratives. A writer named Shahriar—the author’s fictional alter ego—has struggled for years against the all-powerful censor at the Ministry of Culture and Islamic Guidance. Now, on the threshold of fifty, tired of writing dark and bitter stories, he has come to realize that the “world around us has enough death and destruction and sorrow.” He sets out instead to write a bewitching love story, one set in present-day Iran. It may be his greatest challenge yet. Beautiful black-haired Sara and fiercely proud Dara fall in love in the dusty stacks of the library, where they pass secret messages to each other encoded in the pages of their favorite books. But Iran’s Campaign Against Social Corruption forbids their being alone together. Defying the state and their disapproving parents, they meet in secret amid the bustling streets, Internet cafés, and lush private gardens of Tehran. Yet writing freely of Sara and Dara’s encounters, their desires, would put Shahriar in as much peril as his lovers. Thus we read not just the scenes Shahriar has written but also the sentences and words he’s crossed out or merely imagined, knowing they can never be published. Laced with surprising humor and irony, at once provocative and deeply moving, Censoring an Iranian Love Story takes us unforgettably to the heart of one of the world’s most alluring yet least understood cultures. It is an ingenious, wholly original novel—a literary tour de force that is a triumph of art and spirit.

    He was laying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes." With it's startling, bizarre, yet surprisingly funny first opening, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetle-like insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing—though absurdly comic—meditation on human feelings of inadequacy, guilt, and isolation, The Metamorphosis has taken its place as one of the most widely read and influential works of twentieth-century fiction. As W.H. Auden wrote, "Kafka is important to us because his predicament is the predicament of modern man."

    The Overcoat which is generally acknowledged as the finest of Gogol's memorable Saint Petersburg stories, is a tale of the absurd and misplaced obsessions.

    Ali is particularly deft at evoking what life must have been like for those doomed inhabitants, besieged on all sides by intolerant Christendom. "This is a novel that have something to say, and says it well." --"The""Guardian"

    from Cuba. Filled with puns, wordplay, lists upon lists, and Sternean typography--such as the section entitled "Some Revelations," which consists of several blank pages--this novel has been praised as a more modern, sexier, funnier, Cuban Ulysses. Centering on the recollections of a man separated from both his country and his youth, Cabrera Infante creates an enchanting vision of life and the many colorful characters found in steamy Havana's pre-Castro cabaret society.

    His neighbors, a clan of the Lacodón tribe of Chiapas, however, see something more in him than he does himself (dubbing him Wise Owl): when he falls deathly ill, a shaman named Black Ant saves his life—and, almost by chance, in driving out his fever, she exorcises the demon of alcoholism as well. Slowly recovering, weak in his hammock, our antihero discovers a curious thing about the mosquitoes’ buzzing, “which to human ears seemed so irritating and pointless.” Perhaps, in fact, it constituted a language he might learn—and with the help of a flute and a homemade dictionary—even speak. Slowly, he masters Mosquil, with astonishing consequences… Will he harness the mosquitoes’ global might? And will his new powers enable him to take over the world that’s rejected him? A book far ahead of its time, His Name Was Death looks down the double-barreled shotgun of ecological disaster and colonial exploitation—and cackles a graveyard laugh.

    His extravagant and hopeless undertakings, his brushes with the law and scrapes with death, and his enduring friendships and unlooked-for love affairs make him a Don Quixote for our day, driven from one place to another by a restless and irregular quest for the absolute. Álvaro Mutis's seven dazzling chronicles of the adventures and misadventures of Maqroll have won him numerous honors and a passionately devoted readership throughout the world. Here for the first time in English all these wonderful stories appear in a single volume in Edith Grossman's prize-winning translation.

    In the still darkness of their cell, Molina re-weaves the glittering and fragile stories of the film he loves, and the cynical Valentin listens. Valentin believes in the just cause which makes all suffering bearable; Molina believes in the magic of love which makes all else endurable. Each has always been alone, and always - especially now - in danger of betrayal. But in cell 7 each surrenders to the other something of himself that he has never surrendered before.

    On his way to see his son, Sam, for the first time in years, Henri steps into the road without looking and collides with oncoming traffic. He is rushed to a nearby hospital where he floats, comatose, between dreams, reliving the fairytales of his childhood and the secrets that made him run away in the first place.After the accident, Sam--a thirteen-year old synesthete with an IQ of 144 and an appetite for science fiction--waits by his father's bedside every day. There he meets Eddie Tomlin, a woman forced to confront her love for Henri after all these years, and twelve-year old Madelyn Zeidler, a coma patient like Henri and the sole survivor of a traffic accident that killed her family. As these four very different individuals fight--for hope, for patience, for life--they are bound together inextricably, facing the ravages of loss and first love side by side.A revelatory, urgently human story that examines what we consider serious and painful alongside light and whimsy, The Book of Dreams is a tender meditation on memory, liminality, and empathy, asking with grace and gravitas what we will truly find meaningful in our lives once we are gone.

    

    Based on Nin’s dreams, the novel is a surrealistic look within the narrator’s subconscious as she attempts to distance herself from a series of all-consuming and often taboo desires she cannot bear to let go. The incest Nin depicts is a metaphor—a selfish love wherein a woman can appreciate only qualities in a lover that are similar to her own. Through a descriptive exploration of romances and attractions between women, between a sister and her beloved brother, and with a Christ-like man, Nin’s narrator discovers what she thinks is truth: that a woman’s most perfect love is of herself. At first, this self-love seems ideal because it is attainable without fear and risk of heartbreak. But in time, the narrator’s chosen isolation and self-possessed anguish give way to a visceral nightmare from which she is unable to wake.