Finalist for the 2019 PEN/Faulkner Award for Fiction “In this suspenseful novel . . . Boyd gives a chilling portrait of the white terrorist network in the US during the time of Timothy McVeigh, convicted of the 1995 Oklahoma City bombing.” —BBC Culture Blanche McCrary Boyd's first novel in twenty years continues the story of former activist Ellen Burns, whose search for her estranged brother leads her across the country and into the dark abyss of racism and white supremacy, and the confrontation that occurs when she learns the truth about her family's past.
Finalist for the 2019 PEN/Faulkner Award for Fiction “In this suspenseful novel . . . Boyd gives a chilling portrait of the white terrorist network in the US during the time of Timothy McVeigh, convicted of the 1995 Oklahoma City bombing.” —BBC Culture Blanche McCrary Boyd's first novel in twenty years continues the story of former activist Ellen Burns, whose search for her estranged brother leads her across the country and into the dark abyss of racism and white supremacy, and the confrontation that occurs when she learns the truth about her family's past.
No matter how hard she tries, Ellen Burns will never be Scarlett O'Hara. As a little girl in South Carolina, she prefers playing Tarzan to playing Jane. As a teenage beauty queen she spikes her Cokes with spirits of ammonia and baffles her elders with her Freedom Riding sympathies. As a young woman in the 1960s and '70s, she hypnotizes her way to Harvard, finds herself as a lesbian, then very nearly loses herself to booze and shamans. And though the wry, rebellious, and vision-haunted heroine of this exhilarating novel may sometimes seem to be living a magnolia-scented Portrait of the Artist as a Young Woman, Blanche McCrary Boyd's The Revolution Of Little Girls is a completely original arid captivating work.
"Black Power, Jewish Politics expands with this revised edition that includes the controversial new preface, an additional chapter connecting the book's themes to the national reckoning on race, and a foreword by Jews of Color Initiative founder Ilana Kaufman that all reflect on Blacks, Jews, race, white supremacy, and the civil rights movement"--
What are the imagined communities that compel men to kill or to die for an idea of a nation? This notion of nationhood had its origins in the founding of the Americas, but was then adopted and transformed by populist movements in nineteenth-century Europe. It became the rallying cry for anti-Imperialism as well as the abiding explanation for colonialism. In this scintillating, groundbreaking work of intellectual history Anderson explores how ideas are formed and reformulated at every level, from high politics to popular culture, and the way that they can make people do extraordinary things. In the twenty-first century, these debates on the nature of the nation state are even more urgent. As new nations rise, vying for influence, and old empires decline, we must understand who we are as a community in the face of history, and change.
FINALIST FOR THE 2022 PEN/FAULKNER AWARD FOR FICTION FINALIST FOR PUBLISHING TRIANGLE'S EDMUND WHITE DEBUT FICTION AWARD In the last weeks of her pregnancy, a Muslim Indian lesbian living in San Francisco receives a visit from her estranged mother and sister that surfaces long held secrets and betrayals in this "sweeping family saga . . . with the beautiful specificity of real lives lived, loved, and fought for" (Entertainment Weekly) Working as a consultant for Kamala Harris’s attorney general campaign in Obama-era San Francisco, Seema has constructed a successful life for herself in the West, despite still struggling with her father’s long-ago decision to exile her from the family after she came out as lesbian. Now, nine months pregnant and estranged from the Black father of her unborn son, Seema seeks solace in the company of those she once thought lost to her: her ailing mother, Nafeesa, traveling alone to California from Chennai, and her devoutly religious sister, Tahera, a doctor living in Texas with her husband and children. But instead of a joyful reconciliation anticipating the birth of a child, the events of this fateful week unearth years of betrayal, misunderstanding, and complicated layers of love—a tapestry of emotions as riveting and disparate as the era itself. Told from the point of view of Seema’s child at the moment of his birth, and infused with the poetry of Wordsworth and Keats and verses from the Quran, Radiant Fugitives is a moving tale of a family and a country grappling with acceptance, forgiveness, and enduring love.
Revealing Britain’s Systemic Racism applies an existing scholarly paradigm (systemic racism and the white racial frame) to assess the implications of Markle’s entry and place in the British royal family, including an analysis that bears on visual and material culture. The white racial frame, as it manifests in the UK, represents an important lens through which to map and examine contemporary racism and related inequities. By questioning the long-held, but largely anecdotal, beliefs about racial progressiveness in the UK, the authors provide an original counter-narrative about how Markle’s experiences as a biracial member of the royal family can help illumine contemporary forms of racism in Britain. Revealing Britain’s Systemic Racism identifies and documents the plethora of ways systemic racism continues to shape ecological spaces in the UK. Kimberley Ducey and Joe R. Feagin challenge romanticized notions of racial inclusivity by applying Feagin’s long-established work, aiming to make a unique and significant contribution to literature in sociology and in various other disciplines.
The bold and boundlessly original debut novel from the Oscar®-winning screenwriter of Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York. LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • “A dyspeptic satire that owes much to Kurt Vonnegut and Thomas Pynchon . . . propelled by Kaufman’s deep imagination, considerable writing ability and bull’s-eye wit."—The Washington Post “An astonishing creation . . . riotously funny . . . an exceptionally good [book].”—The New York Times Book Review • “Kaufman is a master of language . . . a sight to behold.”—NPR NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND MEN’S HEALTH B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he’s convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius. All that’s left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of “likes” and arbitrary denunciations that are simultaneously his bête noire and his raison d’être. A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.
“I am Moscow’s underground son, the result of one too many nights on the town,” says Mbobo, the precocious twelve-year-old narrator of Hamid Ismailov’s The Underground. Born from a Siberian woman and an African athlete competing in the 1980 Moscow Olympics, Mbobo navigates the complexities of being a fatherless, mixed-raced boy in the Soviet Union in the years before its collapse, guided only by the Moscow subway system. Named one of the "ten best Russian novels of the 21st Century" (Continent Magazine), The Underground is Ismailov’s haunting tour of the Soviet capital, on the surface and beneath. Though deeply engaged with great Russian authors of the past—Dostoyevsky, Nabokov, and, above all, Pushkin—Ismailov is an emerging master of Russian writing that reflects the country’s diversity today. Reviews "Hamid Ismailov has the capacity of Salman Rushdie at his best to show the grotesque realization of history on the ground." —Literary Review "The dream of grandeur is more than justified by the artfulness of The Underground, which...create[s] the motifs of blackness, subterranean movement, and isolation that are the novel’s strongest effects." —Transitions Online Hamid Ismailov is an Uzbek journalist, writer, and translator who was forced to flee Uzbekistan in 1992 for the United Kingdom, where he now works for the BBC World Service. His works are still banned in Uzbekistan. His writing has been published in Uzbek, Russian, French, English, and other languages. He is the author of novels including Sobranie Utonchyonnyh, Le Vagabond Flamboyant, Two Lost to Life, The Railway, The Underground, A Poet and Bin-Laden and The Dead Lake; poetry collections including Sad (Garden) and Pustynya (Desert); and books of visual poetry Post Faustum and Kniga Otsutstvi. Carol Ermakova studied German and Russian language and literature and holds an MA in translation from Bath University. She first visited Russia in 1991. More recently, Ermakova spent two years in Moscow working as a teacher and translator. Carol currently lives in the North Pennines and works as a freelance translator.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • The Washington Post • Publishers Weekly New Hyde Hospital’s psychiatric ward has a new resident. It also has a very, very old one. Pepper is a rambunctious big man, minor-league troublemaker, working-class hero (in his own mind), and, suddenly, the surprised inmate of a budget-strapped mental institution in Queens, New York. He’s not mentally ill, but that doesn’t seem to matter. He is accused of a crime he can’t quite square with his memory. In the darkness of his room on his first night, he’s visited by a terrifying creature with the body of an old man and the head of a bison who nearly kills him before being hustled away by the hospital staff. It’s no delusion: The other patients confirm that a hungry devil roams the hallways when the sun goes down. Pepper rallies three other inmates in a plot to fight back: Dorry, an octogenarian schizophrenic who’s been on the ward for decades and knows all its secrets; Coffee, an African immigrant with severe OCD, who tries desperately to send alarms to the outside world; and Loochie, a bipolar teenage girl who acts as the group’s enforcer. Battling the pill-pushing staff, one another, and their own minds, they try to kill the monster that’s stalking them. But can the Devil die? The Devil in Silver brilliantly brings together the compelling themes that spark all of Victor LaValle’s radiant fiction: faith, race, class, madness, and our relationship with the unseen and the uncanny. More than that, it’s a thrillingly suspenseful work of literary horror about friendship, love, and the courage to slay our own demons. Praise for The Devil in Silver “A fearless exploration of America’s heart of darkness . . . a dizzying high-wire act.”—The Washington Post “LaValle never writes the same book and his recent is a stunner. . . . Fantastical, hellish and hilarious.”—Los Angeles Times “It’s simply too bighearted, too gentle, too kind, too culturally observant and too idiosyncratic to squash into the small cupboard of any one genre, or even two.”—The New York Times Book Review “Embeds a sophisticated critique of contemporary America’s inhumane treatment of madness in a fast-paced story that is by turns horrifying, suspenseful, and comic.”—The Boston Globe “LaValle uses the thrills of horror to draw attention to timely matters. And he does so without sucking the joy out of the genre. . . . A striking and original American novelist.”—The New Republic
