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From Africa to Asia and Latin America, the era of climate wars has begun. Extreme weather is breeding banditry, humanitarian crisis, and state failure. In Tropic of Chaos, investigative journalist Christian Parenti travels along the front lines of this gathering catastrophe--the belt of economically and politically battered postcolonial nations and war zones girding the planet's midlatitudes. Here he finds failed states amid climatic disasters. But he also reveals the unsettling presence of Western military forces and explains how they see an opportunity in the crisis to prepare for open-ended global counterinsurgency. Parenti argues that this incipient "climate fascism" -- a political hardening of wealthy states-- is bound to fail. The struggling states of the developing world cannot be allowed to collapse, as they will take other nations down as well. Instead, we must work to meet the challenge of climate-driven violence with a very different set of sustainable economic and development policies.
In The Last Brother by Nathacha Appanah, 1944 is coming to a close and nine-year-old Raj is unaware of the war devastating the rest of the world. He lives in Mauritius, a remote island in the Indian Ocean, where survival is a daily struggle for his family. When a brutal beating lands Raj in the hospital of the prison camp where his father is a guard, he meets a mysterious boy his own age. David is a refugee, one of a group of Jewish exiles whose harrowing journey took them from Nazi occupied Europe to Palestine, where they were refused entry and sent on to indefinite detainment in Mauritius. A massive storm on the island leads to a breach of security at the camp, and David escapes, with Raj's help. After a few days spent hiding from Raj's cruel father, the two young boys flee into the forest. Danger, hunger, and malaria turn what at first seems like an adventure to Raj into an increasingly desperate mission. This unforgettable and deeply moving novel sheds light on a fascinating and unexplored corner of World War II history, and establishes Nathacha Appanah as a significant international voice.
A powerful examination of the artistic impulse, cultural identity, and family bonds Anita is waiting for Adam to be released from prison. They met twenty years ago at a New Year’s Eve party in Paris, a city where they both felt out of place—he as a recent arrival from the provinces, and she as an immigrant from the island of Mauritius. They quickly fell in love, married, and moved to a village in southwestern France, to live on the shores of the Atlantic with their little girl, Laura. In order to earn a living, Adam has left behind his love of painting to become an architect, and Anita has turned her desire to write into a job freelancing for a local newspaper. Over time, the monotony of daily life begins to erode the bonds of their marriage. The arrival of Adèle, an undocumented immigrant from Mauritius whom they hire to care for Laura, sparks artistic inspiration for both Adam and Anita, as well as a renewed energy in their relationship. But this harmony proves to be short-lived, brought down by their separate transgressions of Adèle’s privacy and a subsequently tragic turn of events. With the careful observation, vivid description, and emotional resonance that are the hallmarks of her previous novel, The Last Brother, in Waiting for Tomorrow Nathacha Appanah investigates the life of the artist, the question of cultural differences within a marriage, and the creation and the destruction of a family.
A young Frenchman, Joseph Timar, travels to Gabon carrying a letter of introduction from an influential uncle.
The English-language debut of one of the most thrilling and accomplished young Mexican writers Winner of the Queen Sofía Spanish Institute's Tanslation Prize Longlisted for the National Book Award Shortlisted for the Booker Prize Winner of the Internationaler Literaturpreis New York Public Library Best Books of 2020 Chicago Public Library Best Book of 2020 The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. Like Roberto Bolaño’s 2666 or Faulkner’s novels, Hurricane Season takes place in a world saturated with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more and more terrifying the deeper you explore it.
A string of murders being committed by a mysterious voodoo assassin on the exotic island city of Key West pits a crusading environmental shock-jock and a homicide detective against a maelstrom of unscrupulous developers, scammers and everyday citizens. 25,000 first printing.
On the heels of I Am the Brother of XX and These Possible Lives, here is Jaeggy's fabulously witchy first book in English, with a new Peter Mendelsund cover A novel about obsessive love and madness set in postwar Switzerland, Fleur Jaeggy’s eerily beautiful novel begins innocently enough: “At fourteen I was a boarder in a school in the Appenzell.” But there is nothing innocent here. With the off-handed remorselessness of a young Eve, the narrator describes her potentially lethal designs to win the affections of Fréderique, the apparently perfect new girl. In Tim Parks’ consummate translation (with its “spare, haunting quality of a prose poem,” TLS), Sweet Days of Discipline is a peerless, terrifying, and gorgeous work.
“Timely, dark, and ultimately hopeful: it might not ‘make America great again,’ but then again, it just might.”—Cory Doctorow, New York Times bestselling and award winning author of Homeland Acclaimed short story writer and editor of the World Fantasy Award-nominee Three Messages and a Warning eerily envisions an American society unraveling and our borders closed off—from the other side—in this haunting and provocative novel that combines Max Barry’s Jennifer Government, Philip K. Dick’s classic Man in the High Castle, and China Mieville’s The City & the City The United States of America is no more. Broken into warring territories, its center has become a wasteland DMZ known as “the Tropic of Kansas.” Though this gaping geographic hole has no clear boundaries, everyone knows it's out there—that once-bountiful part of the heartland, broken by greed and exploitation, where neglect now breeds unrest. Two travelers appear in this arid American wilderness: Sig, the fugitive orphan of political dissidents, and his foster sister Tania, a government investigator whose search for Sig leads her into her own past—and towards an unexpected future. Sig promised those he loves that he would make it to the revolutionary redoubt of occupied New Orleans. But first he must survive the wild edgelands of a barren mid-America policed by citizen militias and autonomous drones, where one wrong move can mean capture . . . or death. One step behind, undercover in the underground, is Tania. Her infiltration of clandestine networks made of old technology and new politics soon transforms her into the hunted one, and gives her a shot at being the agent of real change—if she is willing to give up the explosive government secrets she has sworn to protect. As brother and sister traverse these vast and dangerous badlands, their paths will eventually intersect on the front lines of a revolution whose fuse they are about to light. “Futurist as provocateur! The world is sheer batshit genius . . . a truly hallucinatorily envisioned environment.”—William Gibson, New York Times bestselling and award-winning author
Now in paperback, a transcendent and wide-ranging collection of stories by László Krasznahorkai: “a visionary writer of extraordinary intensity and vocal range who captures the texture of present-day existence in scenes that are terrifying, strange, appallingly comic, and often shatteringly beautiful.”—Marina Warner, announcing the Booker International Prize In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“here I would leave this earth and these stars, because I would take nothing with me”). As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative…” A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on and on about the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils. “The excitement of his writing,” Adam Thirlwell proclaimed in The New York Review of Books, “is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”