Персиваль Эверетт0.0 The protagonist of Percival Everett’s puckish new novel is a brilliant professor of mathematics who goes by Wala Kitu. (Wala, he explains, means ‘nothing’ in Tagalog, and Kitu is Swahili for ‘nothing’. He is an expert on nothing. That is to say, he is an expert, and his area of study is nothing, and he does nothing about it. This makes him the perfect partner for the aspiring villain John Sill, who wants to break into Fort Knox to steal, well, not gold bars, but a shoebox containing nothing. Once he controls nothing he’ll proceed with a dastardly plan to turn a Massachusetts town into nothing. Or so he thinks.
With the help of the brainy and brainwashed astrophysicist-turned-henchwoman Eigen Vector, our professor tries to foil the villain while remaining in his employ. In the process, Wala Kitu learns that Sill’s desire to become a literal Bond villain originated in some real all-American villainy related to the murder of Martin Luther King Jr. As Sill says, ‘Professor, think of it this way. This country has never given anything to us and it never will. We have given everything to it. I think it’s time we gave nothing back.’
Dr. No is a caper with teeth, a wildly mischievous novel from one of America’s most inventive, provocative and productive writers. That it is about nothing isn’t to say that it’s not about anything. In fact, it’s about villains. Bond villains. And that’s not nothing.
Дейзи Эрнандес0.0 Growing up in a New Jersey factory town in the 1980s, Daisy Hernández believed that her aunt had become deathly ill from eating an apple. No one in her family, in either the United States or Colombia, spoke of infectious diseases, and even into her thirties, she only knew that her aunt had died of a rare illness called Chagas. But as Hernández dug deeper, she discovered that Chagas—or the kissing bug disease—is more prevalent in the United States than the Zika virus. Today, more than three hundred thousand Americans have Chagas.
Why do some infectious diseases make headlines and others fall by the wayside? After her aunt’s death, Hernández begins searching for answers about who our nation chooses to take care of and who we ignore. Crisscrossing the country, she interviews patients, epidemiologists, and even veterinarians with the Department of Defense. She learns that outside of Latin America, the United States is the only country with the native insects—the “kissing bugs”—that carry the Chagas parasite. She spends a night in southwest Texas hunting the dreaded bug with university researchers. She also gets to know patients, like a mother whose premature baby was born infected with the parasite, his heart already damaged. And she meets one cardiologist battling the disease in Los Angeles County with local volunteers.
The Kissing Bug tells the story of how poverty, racism, and public policies have conspired to keep this disease hidden—and how the disease intersects with Hernández’s own identity as a niece, sister, and daughter; a queer woman; a writer and researcher; and a citizen of a country that is only beginning to address the harms caused by Chagas, and the dangers it poses. A riveting and nuanced investigation into racial politics and for-profit healthcare in the United States, The Kissing Bug reveals the intimate history of a marginalized disease and connects us to the lives at the center of it all.
Энтони Коди0.0 The 1848 Treaty of Guadalupe Hidalgo marked an end to the Mexican—American War, but it sparked a series of lynchings of Mexicans and subsequent erasures, and long-lasting traumas. This pattern of state-sanctioned violence committed towards communities of color continues to the present day. Borderland Apocrypha centers around the collective histories of these terrors, excavating the traumas born of turbulence at borderlands. In this debut collection, Anthony Cody responds to the destabilized, hostile landscapes and silenced histories of borderlands. His experimental poetic reinvents itself and shapeshifts in both form and space across the margin, the page, and the book in forms of resistance, signaling a reclamation and a re-occupation of what has been omitted. The poems ask the reader to engage in searching through the nested and cascading series of poems centered around familial and communal histories, structural racism, and natural ecosystems of borderlands. Relentless in its explorations, this collection shows how the past continues to inform actions, policies, and perceptions in North and Central America.
Rather than a proposal for re-imagining the US/Mexico border, Cody’s collection is an avant-garde examination of how borderlands have remained occupied spaces, and of the necessity of liberation to usher the earth and its people toward healing. Part auto-historia, part docu-poetic, part visual monument, part myth-making, Borderland Apocrypha unearths history in order to work toward survival, reckoning, and the building of a future that both acknowledges and moves on from tragedies of the past.
Borderland Apocrypha won Omnidawn's 2018 1st/2nd Book Prize.
Yiyun Li4.3 From the critically acclaimed author of The Vagrants, a devastating and utterly original novel on grief and motherhood.
"Days: the easiest possession. The days he had refused would come, one at a time. They would wait, every daybreak, with their boundless patience and indifference, seeing if they could turn me into an ally or an enemy to myself."
A woman’s teenage son takes his own life. It is incomprehensible. The woman is a writer, and so she attempts to comprehend her grief in the space she knows best: on the page, as an imagined conversation with the child she has lost. He is as sharp and funny and serious in death as he was in life itself, and he will speak back to her, unable to offer explanation or solace, but not yet, not quite, gone.
Where Reasons End is an extraordinary portrait of parenthood, in all its painful contradictions of joy, humour and sorrow, and of what it is to lose a child.
Нана Кваме Аджей-Бренья4.5 From the start of this extraordinary debut, Nana Kwame Adjei-Brenyah’s writing will grab you, haunt you, enrage and invigorate you. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day in this country.
These stories tackle urgent instances of racism and cultural unrest, and explore the many ways we fight for humanity in an unforgiving world. In “The Finkelstein Five,” Adjei-Brenyah gives us an unforgettable reckoning of the brutal prejudice of our justice system. In “Zimmer Land,” we see a far-too-easy-to-believe imagining of racism as sport. And “Friday Black” and “How to Sell a Jacket as Told by Ice King” show the horrors of consumerism and the toll it takes on us all.
Entirely fresh in its style and perspective, and sure to appeal to fans of Colson Whitehead, Marlon James, and George Saunders, Friday Black confronts readers with a complicated, insistent, wrenching chorus of emotions, the final note of which, remarkably, is hope.
Лейли Лонг Солдер0.0 The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award
WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.
—from “WHEREAS Statements”
WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
Хишам Матар4.0 WINNER OF THE PULITZER PRIZE - The acclaimed memoir about fathers and sons, a legacy of loss, and, ultimately, healing--one of The New York Times Book Review's ten best books of the year, winner of the PEN/Jean Stein Book Award, and a finalist for the National Book Critics Circle Award
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY
Michiko Kakutani, The New York Times - The Washington Post - The Guardian - Financial Times
When Hisham Matar was a nineteen-year-old university student in England, his father went missing under mysterious circumstances. Hisham would never see him again, but he never gave up hope that his father might still be alive. Twenty-two years later, he returned to his native Libya in search of the truth behind his father's disappearance. The Return is the story of what he found there.
The Pulitzer Prize citation hailed The Return as "a first-person elegy for home and father." Transforming his personal quest for answers into a brilliantly told universal tale of hope and resilience, Matar has given us an unforgettable work with a powerful human question at its core: How does one go on living in the face of unthinkable loss?
Praise for The Return
"A tale of mighty love, loyalty and courage. It simply must be read."--The Spectator (U.K.)
"Wise and agonizing and thrilling to read."--Zadie Smith
"[An] eloquent memoir . . . at once a suspenseful detective story about a writer investigating his father's fate . . . and a son's efforts to come to terms with his father's ghost, who has haunted more than half his life by his absence."--Michiko Kakutani, The New York Times
"This outstanding book . . . roves back and forth in time with a freedom that conceals the intricate precision of its art."--The Wall Street Journal
"Truly remarkable . . . a book with a profound faith in the consolations of storytelling . . . a testament to [Matar's] father, his family and his country."--The Daily Telegraph (U.K.)
"The Return is a riveting book about love and hope, but it is also a moving meditation on grief and loss. . . . Likely to become a classic."--Colm Toibin
"Matar's evocative writing and his early traumas call to mind Vladimir Nabokov." --The Washington Post
"Utterly riveting."--The Boston Globe
"A moving, unflinching memoir of a family torn apart."--Kazuo Ishiguro, The Guardian
"Beautiful . . . The Return, for all the questions it cannot answer, leaves a deep emotional imprint."--Newsday
"A masterful memoir, a searing meditation on loss, exile, grief, guilt, belonging, and above all, family. It is, as well, a study of the shaping--and breaking--of the bonds between fathers and sons. . . . This is writing of the highest quality."--The Sunday Times (U.K.)
