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International Booker Prize (2022)
An eighty-year-old woman slips into a deep depression at the death of her husband, then resurfaces to gain a new lease on life.
Her determination to fly in the face of convention – including striking up a friendship with a hijra (trans) woman – confuses her bohemian daughter, who is used to thinking of herself as the more 'modern' of the two.
At the older woman's insistence they travel back to Pakistan, simultaneously confronting the unresolved trauma of her teenage experiences of Partition, and re-evaluating what it means to be a mother, a daughter, a woman, a feminist...
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What is history, undocumented? How do we archive censored lives? A poetic reflection on authorship and erasure, A Book, Untitled is an intimate and innovative approach to autofiction and the act of remembering. In her first novel, Armenian writer Shushan Avagyan tells the story of a fictional encounter between Shushanik Kurghinian and Zabel Yesayan, two early twentieth-century pioneers of feminist literature, whose legacies have been obscured in Armenian history. Their fictive meeting is interspersed with conversations between the author and her friend Lara, who are researching the work of Kurghinian and Yesayan. While sifting through censored documents, unpublished works, and unfinished drafts, they linger in speculation and piece together lives that have been overshadowed by the Tsarist and Stalinist regimes. At once electric and ephemeral, A Book, Untitled is a story of re-cognition otherwise—posthumous, imagined, and intricately powerful.
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A woman arrives alone in Kolkata, taking refuge in a deserted apartment while she waits to undergo an unspecified surgery. In this disorienting city, everything seems new and strange: the pavement-dwellers outside her block, the collective displays of religiosity, the power cuts and alarming acts of arson. Her sense of identity already shaken, when she finds a stained pair of leopard print panties in the otherwise-empty wardrobe she begins to fantasise about their former owner, whose imagined life comes to blur with and overlap her own. Pairing manic energy with dark eroticism, Sangeeta Bandyopadhyay's writing has a surreal, feverish quality, slipping between fluid subjects with great stylistic daring. Credited with being 'the woman who reintroduced hardcore sexuality into Bengali literature', Bandyopadhyay is neither superficial nor sensationalistic, equally concerned with debates on religion and nationhood as with gender and sexuality.
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Winner of an English PEN award With her days split between a passionate marriage and a high-octane television studio job, Homi is a thoroughly modern young woman – until one day she is approached by a yogi in the street. Convinced that the yogi is a manifestation of fate, Homi embarks on a series of increasingly desperate attempts to prove that her life is ruled by her own free will, much to the alarm of her no-nonsense husband and cattily snobbish mother. Her middle-class Kolkata life, and the relationships that define her identity, are disturbed to the point of disintegration. Following the inexorable pull of tradition, Homi ends up in Benaras, the holy city on the banks of the Ganga, where her final battle with fate plays out. The new novel by Sangeeta Bandyopadhyay is a brilliant portrait of a young millennial in contemporary India who is torn between her modern life and tradition. Bandyopadhyay's unflinching look at sex, work and family redefines comfortable notions of what the life of young women is supposed to look like.
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A contemporary, feminist take on a Heart of Darkness-esque tale of an upriver journey through a landscape scarred by ecological destruction, and a culture scarred by historical greed. A young girl is abducted and smuggled about a boat bound for the Indonesian interior. As her captors take her ever deeper into the jungle, her uncertain fate is compounded by the sense of her environment as a place of violence, destruction and jeopardy. A long poem accompanied by the author's own 'rainforest gothic' artwork, the book is also a bold and necessary experiment in making a sight-impaired-accessible art book – it will feature Braille alongside conventional text, and tactile, textured images.
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Deep in the Malaysian rainforest, two comrades pine for each other but don't know how to declare their love; a fastidious man with perfect hearing keeps his comrades safe time after time, a woman viewed as a burden nonetheless manages to delight her comrades the day she finds a mythical mouse deer. In the forest, you forage and kill but also love, desire, and grieve. Thread together, Delicious Hunger is a collection of moments; the time in and between warfare, when the act of hunger is something to taste and the rainforest becomes an extension of the body. Deftly translated by Jeremy Tiang, Hai Fan's stories are about the people who chose to fight for a particular world and in the process, built their own.
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In the city of Yong'an, a fiction writer and amateur cryptozoologist is commissioned to uncover the stories of its fabled beasts. These creatures, with their greenish stomachs or gills or strange birthmarks, live alongside humans in near-inconspicuousness, some with ancient forbears, others engineered as artificial breeds. Guided – and often misguided – by her elusive university professor and his scrappy sidekick-student Zhong Liang, our narrator finds herself on a mission to track down each species. And as she blunders from one implausible situation to the next, she comes one step closer to revealing her own multifaceted beastliness… Part detective story, part metaphysical enquiry, Strange Beasts of China addresses existential questions of identity, being, love and morality with whimsy and grace.
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The 'Miyah' community of the Northeast Indian state of Assam is formed from the descendants of migrant Bengali-Muslims living in the chars (low-lying islands prone to floods and erosion). Very rarely do we see translations of literature from India's Northeast, a contested region seen as 'off the map' of India proper, or from the hundreds of languages which are not official at either the national or state level. In poetry and song originally written mostly in Assamese or local dialects spoken by the community, over twenty voices are brought together in this anthology to document deeply intimate stories of nature, loss, and yearning, foregrounding these contemporary lives beyond mere victimisation. From folk river-songs as poems to love poetry, the islands and riverbanks of the chars and chaporis of the Brahmaputra River become both background and metaphor in this anthology, never shying away from the prismatic effect of water. Curated by Shalim M. Hussain, a leading figure in the Miyah poetry movement, Again I Hear These Waters is an offering, a gathering.
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What was it they were battling? Their smallness, of course, their smallness. d, a nonbinary gig worker living in Seoul, briefly escapes the grasp of isolation when they meet dd, only to be ensnared by grief when dd dies in a car accident. Meanwhile, the world around them reckons with the 2014 Sewol ferry disaster that left more than 300 dead. As formally inventive as it is evocative, dd's Umbrella is composed of twin novellas. The first is told from the perspective of d, and the second from the perspective of a writer researching a book they may never write. Both figures dwell in society's margins––queer, working-class, and part of nontraditional family structures. As people across Korea come together to protest the government's handling of the Sewol ferry disaster, and to impeach the right-wing president in office, the novel examines how progressive movements coexist with social exclusion, particularly of women and sexual minorities, invisibilised in service of the 'greater cause'. dd's Umbrella is a meditative and off-centre novel about mourning and revolution.
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An oblique, hard-edged novel tinged with offbeat fantasy, One Hundred Shadows is set in a slum electronics market in central Seoul – an area earmarked for demolition in a city better known for its shiny skyscrapers and slick pop videos. Here, the awkward, tentative relationship between Eungyo and Mujae, who both dropped out of formal education to work as repair-shop assistants, is made yet more uncertain by their economic circumstances, while their matter-of-fact discussion of a strange recent development – the shadows of the slum's inhabitants have started to 'rise' – leaves the reader to make up their own mind as to the nature of this shape-shifting tale. Hwang's spare prose is illuminated by arresting images, quirky dialogue and moments of great lyricism, crafting a deeply affecting novel of perfectly calibrated emotional restraint. Known for her interest in social minorities, Hwang eschews the dreary realism usually employed for such issues, without her social criticism being any less keen. As well as an important contribution to contemporary working-class literature, One Hundred Shadows depicts the little-known underside of a society which can be viciously superficial, complicating the shiny, ultra-modern face which South Korea presents to the world.
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Jeanphi, a young man from the fictional West African city Ouabany, has one obsession that will determine the fate of his life – migration. He scrapes together money to take the illegal route across the Sahara, making it as far as Morocco before being repatriated. Increasingly desperate, Jeanphi meets an elegant French widower who for his part is despairing at the insurmountable bureaucratic hurdles for his charitable endeavour in Jeanphi's country. A window opens to opportunity – but it will also bring tragedy. Burkinabé author Monique Ilboudo's novel offers a compelling and complex portrait of migration, one of the defining global concerns of the twenty-first century, and a sharp critique of both the NGO-isation of African countries and the currents of shame that divide communities and families. Yarri Kamara has rendered Ilboudo's text in an idiom that conveys the sharp humour, lucid descriptions and urgency of the original.
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Manaschi / Hamid Ismailov. - [miejsce nieznane] : Tilted Axis Press : Legimi, 2021.
In his latest tragicomedy Hamid Ismailov interrogates the intersection between tradition and modernity. A former radio-presenter wrongly interprets one of his dreams and thinks that he has been initiated into the world of spirits as a manaschi, one of the Kyrgyz bards and healers reciting Manas – the longest human epic, consisting nearly of a million verses – who are revered as people who are connected with supernatural forces. Travelling to a mountainous village populated by Tajiks and Kyrgyzs, he instead witnesses the full scale of the epic's wrath on his life. Following on from the award-winning The Devils' Dance and Of Strangers and Bees, this is the third and final book in Ismailov's Central Asia trilogy.
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East meets West in a modern Sufi parable about the search for truth "Learned, strange and charming." –– The Guardian In the latest thrilling multi-stranded epic from the award-winning author of The Devils' Dance, an Uzbek writer in exile follows in the footsteps of the medieval polymath Avicenna, who shaped Islamic thought and science for centuries. Waking from a portentous dream, Uzbek writer Sheikhov is convinced that Avicenna still lives. Condemned to roam the world. Avicenna appears across the ages, from Ottoman Turkey to medieval Germany and Renaissance Italy. Sheikhov plies the same route, though his troubles are distinctly modern as he endures the petty humiliations of exile. Hamid Ismailov has crafted another masterpiece, combining traditional oral storytelling with contemporary global fiction to create a modern Sufi parable about the search for truth and wisdom.
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Winner of the EBRD Literature Prize 2019 On New Years' Eve 1938, the writer Abdulla Qodiriy is taken from his home by the Soviet secret police and thrown into a Tashkent prison. There, to distract himself from the physical and psychological torment of beatings and mindless interrogations, he attempts to mentally reconstruct the novel he was writing at the time of his arrest – based on the tragic life of the Uzbek poet-queen Oyhon, married to three khans in succession, and living as Abdulla now does, with the threat of execution hanging over her. As he gets to know his cellmates, Abdulla discovers that the Great Game of Oyhon's time, when English and Russian spies infiltrated the courts of Central Asia, has echoes in the 1930s present, but as his identification with his protagonist increases and past and present overlap it seems that Abdulla's inability to tell fact from fiction will be his undoing. The Devils' Dance brings to life the extraordinary culture of 19th century Turkestan, a world of lavish poetry recitals, brutal polo matches, and a cosmopolitan and culturally diverse Islam rarely described in western literature. Hamid Ismailov's virtuosic prose recreates this multilingual milieu in a digressive, intricately structured novel, dense with allusion, studded with quotes and sayings, and threaded through with modern and classical poetry. With this poignant, loving resurrection of both a culture and a literary canon brutally suppressed by a dictatorship which continues today, Ismailov demonstrates yet again his masterful marriage of contemporary international fiction and the Central Asian literary traditions, and his deserved position in the pantheon of both.
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I want to get rid of Kanoko/I want to get rid of filthy little Kanoko/I want to get rid of or kill Kanoko who bites off my nipples. A landmark dual collection by one of the most important contemporary Japanese poets, in a "generous and beautifully rendered" translation. Now widely taught as a feminist classic, KILLING KANOKO is a defiantly autobiographical exploration of sexuality, community, and postpartum depression. Featuring some of her most famous poems, Ito writes in a defiantly autobiographical manner: Kanoko is Ito's oldest child. WILD GRASS ON THE RIVERBANK won the 2006 Takami Jun Prize, which is awarded each year to an outstanding, innovative book of poetry. Set simultaneously in the California desert and Japan, this collection focuses on migration, nature, and movement. At once grotesque and vertiginous, Itō interweaves mythologies, language, sexuality, and place into a genre-busting narrative of what it is to be a migrant. "Japan's most prominent feminist poet" – Poetry Foundation
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A poetic reckoning with Turkish history, fuelled by mysticism In 1938, in the remote Dersim region of Eastern Anatolia, the Turkish Republic launched an operation to erase an entire community of Zaza-speaking Alevi Kurds. Inspired by those brutal events, and the survival of Kaygusuz's own grandmother, this densely lyrical and allusive novel grapples with the various inheritances of genocide, gendered violence and historical memory as they reverberate across time and place from within the unnamed protagonist's home in contemporary Istanbul. Kaygusuz imagines a narrative anchored by the weight of anguish and silence, fuelled by mysticism, wisdom and beauty. This is a powerful exploration of a still-taboo subject, deeply significant to the fault lines of modern-day Turkey.
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Lee Hyemi's poetry is characterized by fluidity and wetness, with subjects moving about and soaking in each other through curious means. Unexpected Vanilla's exchange of liquids often involves sex, but intercourse can be nonsexual: drinking tea or alcohol, going to the beach, sitting in the same tub, crying, feeling your lover's sweat on your palm. In this way, Lee explores a wide variety of relationships, attractions, and sensations. Her erotically charged, surrealist sensibility can be traced back to the paintings of Leonor Fini, a bisexual Argentinian artist whom she admires. Lee subverts the titular "vanilla" norm without denying its pleasures. Detailing various intimacies in her "world of the second person," which still feels clandestine but safe from the threat of exposure, Lee explores the Korean language's scope for ambiguous gendering. The task of the queer translator is to feel out the subtleties with respect, as one does in life, and not presume heterosexuality. Just as Lee spoke out during the 2016 hashtag movement that began calling out sexual violence within South Korean literary circles, her poems recreate and hold space for agency and queerness in female sexuality.
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Witty, inventive, and profound, Where the Wild Ladies Are is a contemporary feminist retelling of traditional ghost stories by one of Japan's most exciting writers. In a company run by the mysterious Mr Tei, strange things are afoot – incense sticks lead to a surprise encounter; a young man reflects on his mother's death; a foxlike woman finally finds her true calling. As female ghosts appear in unexpected guises, their gently humorous encounters with unsuspecting humans lead to deeper questions about emancipation and recent changes in Japanese women's lives.
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From the writer and translator duo of A Magical Girl Retires, a powerful historical novel about labour activism in Japanese-occupied Korea. Set against the backdrop of Japanese-occupied Korea, Capitalists Must Starve follows a sharp-tongued, big-hearted heroine who dares to love, rebel, and carve out space for working-class women in a world determined to silence them. Echoing the unflinching narratives of Alias Grace and the sweeping historical vision of Pachinko, this feminist historical novel balances raw grit with unexpected tenderness and a defiant streak of dark humour. A stirring portrait of resistance from below: fierce, funny, and full of fight.
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Playful, shape-shifting and emotionally charged, Happy Stories, Mostly is a collection of twelve stories that queer the norm. Inspired by Simone Weil's concept of 'decreation', and often drawing on Batak and Christian cultural elements, these tales put queer characters in situations and plots conventionally filled by hetero characters. The stories talk to each other, echo phrases and themes, and even shards of stories within other stories, passing between airports, stacks of men's lifestyle magazines and memories of Toy Story 3, such that each one almost feels like a puzzle piece of a larger whole, but with crucial facts – the saddest ones, the happiest ones – omitted, forgotten, unbearable. A blend of science fiction, absurdism and alternative-historical realism, Happy Stories, Mostly is a powerful puff of fresh air, aimed at destabilising the heteronormative world and exposing its underlying absences.
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