Their new home is Paradise Mansions - a luxurious apartment block full of 'second wives'. When Becca goes home, a friendship between a lonely family man and a neglected mistress grows into something more - sonething that threatens to destroy all their lives. And when Becca comes back, it is time for all of them to learn something about the meaning of love and the bonds of family.

    Everything changes when he meets his wife Rosa thanks to the help of the Happy Heart Marriage Agency. They seem to have an understanding: Jose isn't bothered by Rosa's dishonesty, extra weight, and fantastically promiscuous past; Rosa isn't too put off by Jose's clubbed foot, periodic blackouts, or lack of direction--she just wants a house. Pragmatic, Jose sets out to get the money necessary to make that possible. And in doing so, he manages to become a robber, sniper, and political subversive wanted by the government. Deploying fast-paced, short chapters in a number of styles, Brandao deftly presents an array of engaging characters and conflicts, vividly depicting the absurdity of a repressive political regime with exceptional daring and humor.

    Dunkirk has fallen, Europe is at the breaking point, Ezra Pound and Lord Haw-Haw are poisoning the radio waves, Mordred has fled to Nazi Germany, and King Arthur and his worshipful Knights are deep in the fighting. When the Holy Grail presents itself--which is, in this version, the atomic bomb, "a superweapon if you will, with which we can chastise and thwart the enemy"--they must decide whether to hew to their knightly ways or adopt a modern ruthlessness. Barthelme makes brilliant comic use of anachronism to show that war is center stage in the theater of human absurdity and cruelty. But Arthur, in deciding to decline the power of the Grail, announces his unwillingness to go along: "It's not the way we wage war. The essence of our calling is right behavior, and this false Grail is not a knightly weapon."

    But first she must become the man she always was – with the help of a sacred anemone. Tentacle is an electric novel with a big appetite and a brave vision, plunging headfirst into questions of climate change, technology, Yoruba ritual, queer politics, poverty, sex, colonialism and contemporary art. Bursting with punk energy and lyricism, it’s a restless, addictive trip: The Tempest meets the telenovela.

    The Magic Mountain is a monumental work of erudition and irony, sexual tension and intellectual ferment, a book that pulses with life in the midst of death.

    It is set in Lisbon as Portugal's African colonies gain their independence in the mid-1970s. In a contemporary response to Camoes's conquest epic 'The Lusiads', Antunes imagines Vasco da Gama and other heroes of Portuguese explorations beached amid the detritus of the empire's collapse. Or is it the modern colonials -- with their mixed-race heritage and uneasy place in the "fatherland" -- who have somehow ended up in sixteenth-century Lisbon? As da Gama begins winning back ownership of Lisbon piece by piece in crooked card games, four hundred years of Portuguese history mingle -- the caravels dock next to Iraqi oil tankers, and the slave trade rubs shoulders with the duty-free shops. The Return of the Caravels is a startling and uncompromising look at one of Europe's great colonial powers, and how the era of conquest reshaped not just Portugal but the world. "... the voice of Nabokov by way of Cortazar, Gogol by way of Dylan." -- Jonathan Levi, Los Angeles Times Book Review "Antunes has empathy for the contradictions of human feeling. He is a warm-bloodied writer."-- Michael Pye, The New York Times Book Review "[Antunes] deserves a wide audience of discerning readers." -- Michael Mewshaw, The Washington Post Book World

    Orosco converted and became a Missionary working among the oriental tribes. He was always accompanied by his son Carlos who became very fund of this young Indian Beauty, Cumand. She saved the young white man's life in several opportunities, finally she accepted to become the wife of the chief of the Jibaros Yahuarmaqui so they would spare his beloved Carlos's life. At the end of this masterpiece we find out that Cumand is the daughter of Juan Domingo Orosco and that she didn't die when his ranch was destroyed, thanks to the protection of Pona, wife of the chief of the Paloras, and she was raised in the jungle as part of the Indian tribes. Cumand dies sacrificed according to the customs of the tribe; Orosco reconciles with his enemy, the loss of his daughter end the life of purification he had in the last few years.

    Drawn to what lies beyond the range of reason, they all reach for the beautiful and fleeting, whether through humor, music, poetry, or unspoken words. Across his encounters with each of them, the narrator—a Guatemalan literature professor and writer named Eduardo Halfon—pursues his most enigmatic subject: himself.Mapping the geography of identity in a world scarred by a legacy of violence and exile, The Polish Boxer marks the debut of a major new Latin American voice in English.Eduardo Halfon has been cited as among the best young Latin American writers by the Hay Festival of Bogotá and is the recipient of Spain’s prestigious José María de Pereda Prize for the Short Novel. In 2011 he received a Guggenheim Fellowship to continue the story of The Polish Boxer, which is his first novel to be published in English. He travels frequently to his native Guatemala and lives in Nebraska.

    It starts on the night of January 29, 1690, a ten-year-old boy abandoned -- the stern men who've kept him since infancy have wearied of him. The boy wanders, barefoot and starving, through a snowstorm to reach a gibbet bearing the corpse of a hanged criminal. Beneath the gibbet is a ragged woman, frozen to death. The boy is about to move onward when he hears a sound within the woman's garments: He discovers an infant girl, barely alive, clutching the woman's breast. A single drop of frozen milk, resembling a pearl, is on the woman's lifeless breast...

    In the sixteenth century, the Protestant Reformation launched an attack on privilege and the Catholic Church, but it rapidly became an established, bourgeois authority itself. Rural laborers and the urban poor, who were still being promised equality in heaven, began to question why they shouldn’t have equality here and now on earth.There ensued a furious struggle between the powerful—the comfortable Protestants—and the others, the wretched. They were led by a number of theologians, one of whom has left his mark on history through his determination and sheer energy. His name was Thomas Müntzer, and he set Germany on fire. The War of the Poor recounts his story—that of an insurrection through the Word.In his characteristically bold, cinematic style, Éric Vuillard draws insights from this revolt from nearly five hundred years ago, which remains shockingly relevant to the dire inequalities we face today.