Winner of the Prix Ulysse for best debut novel in FranceWinner in Croatia and the Balkan region of the Kočićevo Pero Award, the Josip and Ivan Kozarac Award, and the Kiklop Award for the best work of fictionWhen the Croatian War of Independence breaks out in her hometown of Vukovar in the summer of 1991 she is nine years old, nestled within the embrace of family with her father, mother, and older brother. She is sent to a seaside vacation to be far from the hostilities. Meanwhile, her father has disappeared while fighting with the Croatian forces. By the time she returns at summer’s end everything has changed. Against the backdrop of genocide (the Vukovar hospital massacre) and the devastation of middle-class society within the Yugoslav Federation, our young narrator, now with her mother and brother refugees among a sea of refugees, spends the next six years experiencing her own self-discovery and transformation amid unfamiliar surroundings as a displaced person. As she grows from a nine-year old into a sparkling and wonderfully complicated fifteen-year-old, it is as a stranger in her own land.             Applauded as the finest work of fiction to appear about the Yugoslav Wars, Ivana Bodroić’s The Hotel Tito is at its heart a story of a young girl’s coming of age, a reminder that even during times of war—especially during such times—the future rests with those who are the innocent victims and peaceful survivors.

The Hotel Tito

Literature & Fiction

Ivana Bodrozic

Genre Fiction

Seven Stories Press UK

Bezoar

GUADALUPE NETTEL

Contemporary

Farewell, Ghosts

Ann Goldstein

Nadia Terranova

A thriller of the ex-Yugoslavia Wars.\n"Bodrozic, mediated by Ellen Elias-Bursac’s assured translation, chronicles what a country chooses to remember, and what it consciously forgets, with confidence and grace." —Sarah Weinman, New York Times Book Review\nThe city of Vukovar, situated on Croatia's easternmost periphery, across the Danube River from Serbia, was the site of some of the worst violence in the wars that rocked ex-Yugoslavia in the early '90s. It is referred to only as "the city" throughout this taut political thriller from one of Europe's most celebrated young writers. In this city without a name, fences in schoolyards separate the children of Serbs from those of Croats, and city leaders still fight to free themselves from violent crimes they committed or permitted during the war a generation ago. Now, it is left to a new generation the children, now grown up, to extricate themselves from this tragic place, innocents who are nonetheless connected in different ways to the crimes of the past. 
Nora is a journalist assigned to do a puff piece on the perpetrator of a crime of passion a Croatian high school teacher who fell in love with one of her students, a Serb, and is now in prison for having murdered her husband. But Nora herself is the daughter of a man who was murdered years earlier under mysterious circumstances. And she wants, if not to avenge her father, at least to bring to justice whoever committed the crime. There's a hothouse intensity to this extraordinary noir page-turner because of how closely the author sets the novel within the historical record. This city is unnamed, the story is fictional, so it can show us what actually happened there.

We Trade Our Night for Someone Else's Day

Ellen

Bodrozic

Ivana

Elias-Bursac

Anne-Marie The Beauty

STRAYER

REZA

Yasmina

Alison L.

The highly anticipated new novel from the winner of the Center for Fiction's First Novel Prize examines NYC and America in the burgeoning moments before the start of the Civil War through the eyes of a young biracial girl.In Moon and the Mars , set in the impoverished Five Points district of New York City in the years 1857-1863, we experience neighborhood life through the eyes of Theo from childhood to adolescence, an orphan living between the homes of her Black and Irish grandparents. Throughout her formative years, Theo witnesses everything from the creation of tap dance to P.T. Barnum's sensationalist museum to the draft riots that tear NYC asunder, amidst the daily maelstrom of Five Points work, hardship, and camaraderie. Meanwhile, white America's attitudes towards people of color and slavery are shifting—painfully, transformationally—as the nation divides and marches to war.Corthron's first novel, The Castle Cross the Magnet Carter , won the coveted First Novel Prize from the Center for Fiction in 2016. It was championed by Pulitzer Prize-winner Viet Thanh Nguyen, Robin D.G. Kelley, and Angela Y. Davis, among many others, and received rave reviews in The New York Times Book Review , where it was an Editor's Choice, The Wall Street Journal , and elsewhere.

Moon And The Mars

kia-corthron

A novel of the emotional intricacies of trauma and exile, from the author of international bestselling Ru\nFinalist of the New Academy Prize in Literature 
Finalist Scotiabank Giller Prize 
Winner du Prix du Gran Public au salon du livre de Montreal 
Winner of the Governor General's Literary Award for Fiction 
Winner of the Grand Prix RTL-Lire\nEmma-Jade and Louis are born into the havoc of the Vietnam War. Orphaned, saved and cared for by adults coping with the chaos of Saigon in free-fall, they become children of the Vietnamese diaspora. Em is not a romance in any usual sense of the word, but it is a word whose homonym--aimer, to love--resonates on every page, a book powered by love in the larger sense. A portrait of Vietnamese identity emerges that is wholly remarkable, honed in wartime violence that borders on genocide, and then by the ingenuity, sheer grit and intelligence of Vietnamese-Americans, Vietnamese-Canadians and other Vietnamese former refugees who go on to build some of the most powerful small business empires in the world. Em is a poetic story steeped in history, about those most impacted by the violence and their later accomplishments. In many ways, Em is perhaps Kim Thúy's most personal book, the one in which she trusts her readers enough to share with them not only the pervasive love she feels but also the rage and the horror at what she and so many other children of the Vietnam War had to live through.\nWritten in Kim Thúy's trademark style, near to prose poetry, Em reveals her fascination with connection. Through the linked destinies of characters connected by birth and destiny, the novel zigzags between the rubber plantations of Indochina; daily life in Saigon during the war as people find ways to survive and help each other; Operation Babylift, which evacuated thousands of biracial orphans from Saigon in April 1975 at the end of the Vietnam War; and today's global nail polish and nail salon industry, largely driven by former Vietnamese refugees--and everything in between. Here are human lives shaped both by unspeakable trauma and also the beautiful sacrifices of those who made sure at least some of these children survived.

Em: A Novel

Kim Thúy

Art and Crime

Biographies & Memoirs

Stefan Koldehoff

True Crime

Whether he's describing Tracy Emin or Warhol, the films of Barbet Schroeder ("Schroeder is well aware that life is not a narrative; that we impose form on the movements of chance, contingency, and impulse....") or the installations of Barbara Kruger ("Kruger compresses the telling exchanges of lived experience that betray how skewed our lives are..."), Indiana is never just describing. His writing is refreshing, erudite, joyful. Indiana champions shining examples of literary and artistic merit regardless of whether the individual artist or writer is famous; asserts a standard of care and tradition that has nothing to do with the ivory tower establishment; is unafraid to deliver the coup de grace when someone needs to say the emperor has no clothes; speaks in the same breath in the same discerning, insolent, eloquent way - about high art and pop culture. Few writers could get away with saying the things Gary Indiana does. And when the writing is this good, it's also political, plus it's a riot of fun on the page. Here is Gary Indiana on Euro Disney resort park in Marne-la-Valee outside of Paris: John Berger compares the art of Disney to that of Francis Bacon. He says that the same essential horror lurks in both, and that it springs from the viewer's imagining: There is nothing else. Even as a child, I understood how unbearable it would be to be trapped inside a cartoon frame.

Fire Season: Selected Essays 1984 - 2021

Gary Indiana

Essays & Correspondence

The House of Love and Prayer

Tova Reich

Short Stories & Anthologies

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