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"A bravura performance."—The New York Times Histories and personalities collide in this literary tour-de-force about the Philippines’ present and America’s past by the PEN Open Book Award–winning author of Gun Dealers’ Daughter. Two women, a Filipino translator and an American filmmaker, go on a road trip in Duterte’s Philippines, collaborating and clashing in the writing of a film script about a massacre during the Philippine-American War. Chiara is working on a film about an incident in Balangiga, Samar, in 1901, when Filipino revolutionaries attacked an American garrison, and in retaliation American soldiers created “a howling wilderness” of the surrounding countryside. Magsalin reads Chiara’s film script and writes her own version. Insurrecto contains within its dramatic action two rival scripts from the filmmaker and the translator—one about a white photographer, the other about a Filipino schoolteacher. Within the spiraling voices and narrative layers of Insurrecto are stories of women—artists, lovers, revolutionaries, daughters—finding their way to their own truths and histories. Using interlocking voices and a kaleidoscopic structure, the novel is startlingly innovative, meditative, and playful. Insurrecto masterfully questions and twists narrative in the manner of Italo Calvino’s If on a Winter’s Night a Traveler, Julio Cortázar’s Hopscotch, and Nabokov’s Pale Fire. Apostol pushes up against the limits of fiction in order to recover the atrocity in Balangiga, and in so doing, she shows us the dark heart of an untold and forgotten war that would shape the next century of Philippine and American history.
'Here is a larva, lost in a midsummer night's Babel; one of Robbe-Grillet's detective cyphers is wearing a Pnin suit; its name is Andrew; lost in a jaunty text without a contraption; waiting like a background process.' --John Trefry'With masterful choreography, Hodgson makes interior complexity dance in Mnemic Symbols. Experience, memory, and narrative are caught in the act of synergism. If you ache for solidity, for a static truth to cleave to, for access to meanings buried deep within then--pinch yourself, baby--you're alive. This book tells it like it is.' --Rosie Snajdr
Two schoolgirls in Bolton take acid just before their English class. A film journalist shares tea and a KitKat with Marcel Proust, more or less, during a long train journey. An afterparty turns into a crime scene. Colleagues, maybe in love, have lunch and don't quite talk about their relationship. A woman flees to New Orleans and finds unexpected treasures there. In her electric debut, Anna Wood skips through the decades of a woman's life, meeting friends, lovers, shapeshifters, and doppelgangers along the way. Delights and regrets pile up, time becomes non-linear, characters stumble and shimmy through moments of rupture, horror, and joy. Written with warmth, wit, and swagger, these stories glide from acutely observed comic dialogue to giddy surrealism and quiet heartbreak, and always there is music – pop songs as tiny portals into another world. Yes Yes More More is packed with friendship, memory, pleasure, and love.
Fiction and essays inspired by Paris from more than 70 Anglophone writers -- A MoveableFeast for the twenty-first century. "When good Americans die, they go to Paris", wrote the Irish playwright Oscar Wilde in 1894. The French capital has always radiated an unmatched cultural, political and intellectual brilliance in the anglophone imagination, maintaining its status as the modern cosmopolitan city par excellence through the twentieth century to today. We'll Never Have Paris explores this enduring fascination with this myth of a bohemian and literary Paris (that of the Lost Generation, Joyce, Beckett and Shakespeare and Company) which also happens to be a largely anglophone construct -- one which the Eurostar and Brexit only seem to have exacerbated in recent years. Edited by Andrew Gallix, this collection brings together many of the most talented and adventurous writers from the UK, Ireland, USA, Australia and New Zealand to explore this theme through short stories, essays and poetry, in order to build up a captivating portrait of Paris as viewed by English speakers today -- A Moveable Feast for the twenty-first century. We'll Never Have Paris includes contributions from seventy-nine authors, including Tom McCarthy, Will Self, Brian Dillon, Joanna Walsh, Eley Williams, Max Porter, Sophie Mackintosh and Lauren Elkin.
#1 NATIONAL BESTSELLER * NEW YORK TIMES BESTSELLER “Terrifying…buckle up for a chilling summer read.” —People (Best Books of the Week) “The perfect thriller! A must-read.” —Gillian Flynn “Stunning and relentless. This is Jaws at 35,000 feet.” —Don Winslow You just boarded a flight to New York. There are one hundred and forty-three other passengers onboard. What you don’t know is that thirty minutes before the flight your pilot’s family was kidnapped. For his family to live, everyone on your plane must die. The only way the family will survive is if the pilot follows his orders and crashes the plane. Enjoy the flight.
While many books, films and documentaries claim to have captured the phenomenon that was Swinging London, just one magazine was present in the capital during the 1960s to illustrate this extraordinary moment as it unravelled. London Life emerged in October 1965 and, over the next fifteen months, would document the capital's action at its absolute zenith. With imagery from the likes of David Bailey, Duffy and Terence Donovan, designs from Peter Blake, David Hockney, Gerald Scarfe and fledgling artist Ian Dury plus words and opinions from those riding high on the city`s cutting-edge, London Life remains the coolest document from the capital's most exciting period. Collected for the first time, including forewords from Peter Blake and David Puttnam and a scene-setting introduction from Simon Wells, London Life offers a remarkable and candid view on a period when London was the creative hub of the world.
Eerie, unsettling and hauntingly beautiful - a new collaboration from the bestselling creators of Holloway, Robert Macfarlane and Stanley Donwood 'Ness goes beyond what we expect books to do. Beyond poetry, beyond the word, beyond the bomb -- it is an aftertime song' Max Porter, Booker-longlisted author of Grief is the Thing with Feathers Somewhere on a salt-and-shingle island, inside a ruined concrete structure known as The Green Chapel, a figure called The Armourer is leading a ritual with terrible intent. But something is coming to stop him. Five more-than-human forms are traversing land, sea and time towards The Green Chapel, moving to the point where they will converge and become Ness. Ness has lichen skin and willow-bones. Ness is made of tidal drift, green moss and deep time. Ness has hagstones for eyes and speaks only in birds. And Ness has come to take this island back. What happens when land comes to life? What would it take for land to need to come to life? Using word and image, the pair have together made a minor modern myth. Part-novella, part-prose-poem, part-mystery play, in Ness their skills combine to dazzling, troubling effect. Robert Macfarlane is the author of The Lost Words with Jackie Morris, The Old Ways and Underland. Stanley Donwood is an artist and the author of Slowly Downward, Household Worms and Bad Island.