The Transmigration of Bodies
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"The things people inscribe on tombstones, even if only with their breatherasing those things is what the Redeemer s there for.""
Two astonishing novellas, by ‘Mexico’s greatest novelist’, in one volume. Hilarious and horrifying, Yuri Herrera’s The Transmigration of Bodies is a gritty, feverish novella, written in dazzling prose that is both bawdy and poetic. A plague has brought death to the city. Two feuding crime families with blood on their hands need our hard-boiled hero, The Redeemer, to broker peace. Both his instincts and the vacant streets warn him to stay indoors, but The Redeemer ventures out into the city’s underbelly to arrange for the exchange of the bodies they hold hostage. Lust and crime and a lack of condoms all feature in this brilliant novella about living in a city filled with the dead, and where no one can distinguish between the guilty and the innocent. A response to the violence of contemporary Mexico, with echoes of Romeo and Juliet, Roberto Bolaño and Raymond Chandler, The Transmigration of Bodies is a noir tragedy and a tribute to those bodies—loved, sanctified and defiled—that violent crime has touched. Signs Preceding the End of the World is a masterpiece, haunting and arresting, spare and poetic, a condensed epic about immigration. Yuri Herrera does not simply write about the border between Mexico and the United States and those who cross it. He explores the crossings and translations people make in their minds and language as they move from one country to another, especially when there’s no going back. Traversing this lonely territory is Makina, a young woman who knows only too well how to survive in a violent, macho world. Leaving behind her life in Mexico to search for her brother, she is smuggled into the USA carrying a pair of secret messages—one from her mother and one from the Mexican underworld. Yuri Herrera was born in Actopan, Mexico, in 1970. He studied politics in Mexico, creative writing in El Paso and took his PhD in literature at Berkeley. His first novel to appear in English, Signs Preceding the End of the World, was published to critical acclaim in 2015 and included in many Best-of-Year lists. He is currently teaching at the University of Tulane, in New Orleans. ‘Mexico’s Yuri Herrera is a rare thing: a writer to get truly excited about...It is writing that is simultaneously concise and epic, dynamically plotted and intelligent, aware of literary heritage and stunningly original...This is stunning writing that demands and deserves attention.’ Saturday Paper ‘[The Transmigration of Bodies] captures the feel of the post-epidemic world with consummate ease: the paranoia and desperation are almost palpable.’ BookMooch ‘Herrera knows what he is talking about and says it as it is, with power and without restraint.’ Otago Daily Times ‘There’s a weight to Herrera’s concise prose, more to extrapolate from his simple sentences than a first glance might imply. These two novellas are stunningly original pieces of work from a writer to watch.’ Simon McDonald ‘A splendid and magnificent read...The language is an absolute tribute to the translator.’ Radio New Zealand ‘Herrera’s novella becomes a micro-epic, at once clear and ambiguous, transcultural, localised but applicable to countless sagas of migration across the globe. In scarcely more than one hundred pages, it encapsulates a story that is much bigger than itself.’ Australian Book Review
‘Yuri Herrera has been described as Mexico’s greatest living novelist...Believe the hype.’ Readings In the court of the King, everyone knows their place. But as the Artist wins hearts and egos with his ballads, uncomfortable truths emerge that shake the Kingdom to its core. Part surreal fable and part crime romance, Kingdom Cons by Yuri Herrera questions the price of keeping your integrity in a world ruled by patronage and power. Described as ‘Mexico’s greatest novelist’, Yuri Herrera has followed up The Transmigration of Bodies and Signs Preceding the End of the World with an extraordinary story about passion and violence, about the vital role of the Artist in our society, and about the strangeness of our world. Born in Actopan, Mexico, in 1970, Yuri Herrera studied Politics in Mexico, Creative Writing in El Paso and took his PhD in literature at Berkeley. His first novel to appear in English, Signs Preceding the End of the World, was published to critical acclaim in 2015 and included in many Best-of-Year lists, as did his second novel, The Transmigration of Bodies, in 2016. He is currently teaching at the University of Tulane in New Orleans. ‘Herrera creates a radically new language and condenses into a few pages what other authors need hundreds to convey...a surprising literary jewel’ Nation ‘Mexico’s Yuri Herrera is a rare thing: a writer to get truly excited about...It is writing that is simultaneously concise and epic, dynamically plotted and intelligent, aware of literary heritage and stunningly original...This is writing that demands and deserves attention.’ Saturday Paper on The Transmigration of Bodies and Signs Preceding the End of the World ‘Yuri Herrera is Mexico’s greatest novelist. His spare, poetic narratives and incomparable prose read like epics compacted into a single perfect punch—they ring your bell, your being, your soul.’ Francisco Goldman on The Transmigration of Bodies ‘Yuri Herrera must be a thousand years old. He must have travelled to hell, and heaven, and back again. He must have once been a girl, an animal, a rock, a boy, and a woman. Nothing else explains the vastness of his understanding.’ Valeria Luiselli ‘The Artist’s mission statement could speak for the whole of Mr Herrera’s daring and memorable project: “Let them be scared, let the decent take offence. Put them to shame. Why else be an artist?”’ Wall Street Journal ‘At one point in Kingdom Cons The Artist boasts, “If you’re saying what happened, why bother with a song? Corridor aren’t only true; they’re also beautiful and just.” He may come to realise how his corridor can be used to other ends, but Herrera’s novels stay beautiful and just.’ New Republic ‘Kingdom Cons rises above a mere tale of lost innocence or a drug-land eulogy, specifically because it is the language and not the narrative that powers its subject. Herrera’s writing reinvents its own territory with simultaneous streetwise mischief and canonical splendour. At times a Renaissance quill, at other times a tattier’s needle, his syntax misbehaves masterfully, and Lisa Dillman proves herself once again exquisitely loyal to his lyrical disobedience with this translation, its prose so alive that it recalls Roland Barthes’s description of “language lined with flesh”.’ New Statesman ‘His [Herrera’s] books are bracingly taut, his skill with concision impressive.’ National Post ‘Kingdom Cons is captivating in that Yuri Herrera has seemingly wandered off into the deserts of the genre and has come out on another shore of a different planet...crime is mentioned with a side-glance, the role of power is beheld at close attention, and the language itself is short, poetic, elliptical.’ KQPD ‘With his signature palpable lucidity of the uncanny he [Herrera] blends crime romance with elements of surreal fable.’ Better Read Than Dead ‘I would really recommend reading this author, he’s fantastic’ Radio NZ ‘Kingdom Cons is another great novel from a writer at the top of his game, and is a must read for any fans of Latin American or world literature.’ AU Review
Signs Preceding the End of the World is one of the most arresting novels to be published in Spanish in the last ten years. Yuri Herrera does not simply write about the border between Mexico and the United States and those who cross it. He explores the crossings and translations people make in their minds and language as they move from one country to another, especially when there’s no going back. Traversing this lonely territory is Makina, a young woman who knows only too well how to survive in a violent, macho world. Leaving behind her life in Mexico to search for her brother, she is smuggled into the USA carrying a pair of secret messages - one from her mother and one from the Mexican underworld.
Nicholas Slopen has been dead for months. So when a man claiming to be Nicholas turns up to visit an old girlfriend, deception seems the only possible motive. Yet nothing can make him change his story. From the secure unit of a notorious psychiatric hospital, he begins to tell his tale: an account of attempted forgery that draws the reader towards an extraordinary truth - a metaphysical conspiracy that lies on the other side of madness and death. Strange Bodies takes the reader on a dizzying speculative journey that poses questions about identity, authenticity, and what it means to be truly human.
Is time travel real? Doctor Petronella sage is determined to find out. So is Justin Bremer, the young scholar in the far future tasked with reviewing Dr. Sage’s timeline. Repeatedly electrocuting herself in order to fling her consciousness through time and space, Petra discovers that death is no barrier to science.
Slackers meets Savage Detectives in this polyphonic ode to the pleasures of not measuring up.
Six violent short stories from mexican authors: Alberto Chimal, Erika Mergruen, Yuri Herrera, Isaí Moreno,Úrsula Fuentesberain, Lorea Canales"Originality and the joy of writing abound in these stories, fea-tures that define each of these writers. Also present is violence, the thread that runs through each of these stories and serves as the watchword around which my friend Omar Villasana -the editor of this edition- has brought together each of these au-thors...This anthology will also be published as an e-book, a term to which I am still not accustomed but one that fills me with joy, knowing that it will circulate from web to web and that thousands of Internet users will be able to enjoy beyond the confines of phys-ical borders, something so necessary in modern times when there are those who strive to build walls and close doors."Elena Poniatowska Amor
A very adult novel about adolescence written in a crafted, sensual prose that resonates hauntingly in the mind.
“Startling and astringently poetic.” —The New York Times A literary discovery: an extraordinary account, in the tradition of The House on Mango Street and Angela’s Ashes, of a Colombian woman’s harrowing childhood This astonishing memoir was hailed as an instant classic when first published in Colombia in 2012, nearly a decade after the death of its author, who was encouraged in her writing by Gabriel García Márquez. Comprised of letters written over the course of thirty years, and translated and introduced by acclaimed writer Daniel Alarcón, it describes in vivid, painterly detail the remarkable courage and limitless imagination of a young girl growing up with nothing. Emma Reyes was an illegitimate child, raised in a windowless room in Bogotá with no water or toilet and only ingenuity to keep her and her sister alive. Abandoned by their mother, she and her sister moved to a Catholic convent housing 150 orphan girls, where they washed pots, ironed and mended laundry, scrubbed floors, cleaned bathrooms, sewed garments and decorative cloths for the nuns—and lived in fear of the Devil. Illiterate and knowing nothing of the outside world, Emma escaped at age nineteen, eventually establishing a career as an artist and befriending the likes of Frida Kahlo and Diego Rivera as well as European artists and intellectuals. The portrait of her childhood that emerges from this clear-eyed account inspires awe at the stunning early life of a gifted writer whose talent remained hidden for far too long. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,800 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
This book tracks the conceptual journeying of the term ‘transgender’ from the Global North—where it originated—along with the physical embodied journeying of transgender asylum seekers from countries within Africa to South Africa and considers the interrelationships between the two. The term 'transgender' transforms as it travels, taking on meaning in relation to bodies, national homes, institutional frameworks and imaginaries. This study centres on the experiences and narratives of people that can be usefully termed 'gender refugees', gathered through a series of life story interviews. It is the argument of this book that the departures, border crossings, arrivals and perceptions of South Africa for gender refugees have been both enabled and constrained by the contested meanings and politics of this emergence of transgender. This book explores, through these narratives, the radical constitutional-legal possibilities for 'transgender' in South Africa, the dissonances between the possibilities of constitutional law, and the pervasive politics/logic of binary ‘sex/gender’ within South African society. In doing so, this book enriches the emergent field of Transgender Studies and challenges some of the current dominant theoretical and political perceptions of 'transgender'. It offers complex narratives from the African continent regarding sex, gender, sexuality and notions of home concerning particular geo-politically situated bodies.
“A triumphant, one-of-a-kind experiment . . . Much of Empty Set concerns the trauma of exile and its long-lasting effect on interrupted lives.” —Chicago Review of Books How do you draw an affair? A family? Can a Venn diagram show the ways overlaps turn into absences, tree rings tell us what happens when mothers leave? Can we fall in love according to the hop skip of an acrostic? Empty Set is a novel of patterns, its young narrator’s attempt at making sense of inevitable loss, tracing her way forward in loops, triangles, and broken lines. “The pure pleasure of this book is being inside our heroine Vero’s head: the way she Venns relationships like an auto-dendrochronologist, someone who has serious questions about plywood, but also about exile, Argentina, and the kind of loneliness that accompanies being part of an empty set.” —The Rumpus “A smart story of love and loss with a clever mix of narrative techniques, Empty Set may be an antidote to the current climate of despair.” —Los Angeles Review of Books “An experimental mix of prose, diagrams and literary artifacts that is also, somehow, breathlessly plotted.” —Minneapolis Star-Tribune “In Empty Set, Verónica Gerber Bicecci has found a seemingly new and fascinating way to tell and show us a vital story of modern loneliness, exile, and imagination.” —Words Without Borders “Within the deliberately fractured text, themes echo and time folds and unfolds. A spare, artfully constructed meditation on loss, both personal and national.” —Kirkus Reviews
A blazingly funny, heartfelt memoir from the daughter of the larger-than-life woman who ran Sticky Fingers Brownies, an underground bakery that distributed thousands of marijuana brownies per month and helped provide medical marijuana to AIDS patients in San Francisco--for fans of Armistead Maupin and Patricia Lockwood During the '70s in San Francisco, Alia's mother ran the underground Sticky Fingers Brownies, delivering upwards of 10,000 illegal marijuana edibles per month throughout the circus-like atmosphere of a city in the throes of major change. She exchanged psychic readings with Alia's future father, and thereafter had a partner in business and life. Decades before cannabusiness went mainstream, when marijuana was as illicit as heroin, they ingeniously hid themselves in plain sight, parading through town--and through the scenes and upheavals of the day, from Gay Liberation to the tragedy of the Peoples Temple--in bright and elaborate outfits, the goods wrapped in hand-designed packaging and tucked into Alia's stroller. But the stars were not aligned forever and, after leaving the city and a shoulda-seen-it-coming divorce, Alia and her mom returned to San Francisco in the mid-80s, this time using Sticky Fingers' distribution channels to provide medical marijuana to friends and former customers now suffering the depredations of AIDS. Exhilarating, laugh-out-loud funny, and heartbreaking, Home Baked celebrates an eccentric and remarkable extended family, taking us through love, loss, and finding home.
'This is a very Syrian novel, illustrating sectarian co-existence and providing glimpses of the country's mystical and literary wonders. Political history is integrated smoothly into the narrative. Azzam's criticism of dictatorship is scathingly precise.' The Independent'The novel's gaze reaches toward an understanding of what Syria will need to grapple with in order to bring about a true Syrian Spring.' The New YorkerThe town of Sarmada, Arabic for 'perpetuate' or 'the eternally-not-changed', is the novel's fictitious setting. Women are the protagonists of this story, that spans several generations and extends from Syria to Paris and back again. Sarmada is set in the Druze area and is a declaration of love for tolerance and for the peaceful coexistence of the many religious groups that live there in close proximity. The Druze baptise their children and celebrate Christian holidays; however, the priests regularly collect money to build houses for Muslims and Druze alike.Myths, communists, nationalists, murder, illicit love, superstition, erotic trees and women's breasts make up the tapestry of this beguiling and enchanting novel. Sarmada is direct, ruthless and full of fire, full of irony and satire all told in a language and voice that is entirely unique. 'This is a very Syrian novel, illustrating sectarian co-existence and providing glimpses of the country's mystical and literary wonders. Political history is integrated smoothly into the narrative. Azzam's criticism of dictatorship is scathingly precise.' [The Independent]. 'The novel's gaze reaches toward an understanding of what Syria will need to grapple with in order to bring about a true Syrian Spring.' [The New Yorker] The town of Sarmada, Arabic for 'perpetuate' or 'the eternally-not-changed', is the novel's fictitious setting. Women are the protagonists of this story, that spans several generations and extends from Syria to Paris and back again. Sarmada is set in the Druze area and is a declaration of love for tolerance and for the peaceful coexistence of the many religious groups that live there in close proximity. The Druze baptise their children and celebrate Christian holidays; however, the priests regularly collect money to build houses for Muslims and Druze alike. Myths, communists, nationalists, murder, illicit love, superstition, erotic trees and women's breasts make up the tapestry of this beguiling and enchanting novel. Sarmada is direct, ruthless and full of fire, full of irony and satire all told in a language and voice that is entirely unique.
"A sparkling debut. Landragin’s seductive literary romp shines as a celebration of the act of storytelling." —Publishers Weekly "Romance, mystery, history, and magical invention dance across centuries in an impressive debut novel." —Kirkus Reviews (Starred Review) "Deft writing seduces the reader in a complex tale of pursuit, denial, and retribution moving from past to future. Highly recommended." —Library Journal (Starred Review) Alex Landragin's Crossings is an unforgettable and explosive genre-bending debut—a novel in three parts, designed to be read in two different directions, spanning a hundred and fifty years and seven lifetimes. On the brink of the Nazi occupation of Paris, a German-Jewish bookbinder stumbles across a manuscript called Crossings. It has three narratives, each as unlikely as the next. And the narratives can be read one of two ways: either straight through or according to an alternate chapter sequence. The first story in Crossings is a never-before-seen ghost story by the poet Charles Baudelaire, penned for an illiterate girl. Next is a noir romance about an exiled man, modeled on Walter Benjamin, whose recurring nightmares are cured when he falls in love with a storyteller who draws him into a dangerous intrigue of rare manuscripts, police corruption, and literary societies. Finally, there are the fantastical memoirs of a woman-turned-monarch whose singular life has spanned seven generations. With each new chapter, the stunning connections between these seemingly disparate people grow clearer and more extraordinary. Crossings is an unforgettable adventure full of love, longing and empathy.
|Author||: Omar Khaled Ahmad,Nibal Alalo,Safa Khaled Algharbawi,Omar Abdellatif Alndaf,Rayan Mohamad Sukkar,Safiya Badran,Fatima Omar Ghazawi,Samih Mahmoud,Hiba Mareb|
|Publsiher||: Peirene Press|
|Total Pages||: 150|
|ISBN 10||: 1908670495|
|ISBN 13||: 9781908670496|
|Language||: EN, FR, DE, ES & NL|
Most novels are written by professional writers using second hand material. Not this one. Peirene commissioned nine refugees to tell their ‘Shatila Stories’. The result is a piece of collaborative fiction unlike any other. If you want to understand the chaos of the Middle East – or you just want to follow the course of a beautiful love story – start here. Adam and his family flee Syria and arrive at the Shatila refugee camp in Beirut. Conditions in this overcrowded Palestinian camp are tough, and violence defines many of the relationships: a father fights to save his daughter, a gang leader plots to expand his influence, and drugs break up a family. Adam struggles to make sense of his refugee experience, but then he meets Shatha and starts to view the camp through her eyes. Why Peirene chose to publish this book: I want to hear their stories and see if their imaginations can open up a new path of understanding between us. Collaborative works of literature can achieve what no other literature can do. By pooling our imaginations we are able to access something totally different and new that goes beyond boundaries – that of the individual, of nations, of cultures. It connects us to our common human essence: our creativity. Let’s make stories, not more war. 'This remarkable novel isn’t about the refugee voice; it is born from it and told through it. On every page, the glint of hope for dignity and a better life is heartbreakingly alive.' Khaled Hosseini, author of The Kite Runner 'Both from a humanitarian standpoint and an artistic perspective, Peirene are doing invaluable work in finding new voices who open our eyes, ears and hearts to worldly reality in all its profound suffering, joy, community, isolation and complexity.’Bidisha, Writer and Broadcaster.
The Tibetan Book of the Dead is one of the texts that, according to legend, Padma-Sambhava was compelled to hide during his visit to Tibet in the late 8th century. The guru hid his books in stones, lakes, and pillars because the Tibetans of that day and age were somehow unprepared for their teachings. Now, in the form of the ever-popular Tibetan Book of the Dead, these teachings are constantly being discovered and rediscovered by Western readers of many different backgrounds--a phenomenon which began in 1927 with Oxford's first edition of Dr. Evans-Wentz's landmark volume. While it is traditionally used as a mortuary text, to be read or recited in the presence of a dead or dying person, this book--which relates the whole experience of death and rebirth in three intermediate states of being--was originally understood as a guide not only for the dead but also for the living. As a contribution to the science of death and dying--not to mention the belief in life after death, or the belief in rebirth--The Tibetan Book of the Dead is unique among the sacred texts of the world, for its socio-cultural influence in this regard is without comparison. This fourth edition features a new foreword, afterword, and suggested further reading list by Donald S. Lopez, author of Prisoners of Shangri-La: Tibetan Buddhism and the West. Lopez traces the whole history of the late Evans-Wentz's three earlier editions of this book, fully considering the work of contributors to previous editions (C. G. Jung among them), the sections that were added by Evans-Wentz along the way, the questions surrounding the book's translation, and finally the volume's profound importance in engendering both popular and academic interest in the religion and culture of Tibet. Another key theme that Lopez addresses is the changing nature of this book's audience--from the prewar theosophists to the beat poets to the hippies to contemporary exponents of the hospice movement--and what these audiences have found (or sought) in its very old pages.
A P.G. Wodehouse novel Joey Cooley is a golden-curled child film star, the idol of American motherhood. Reginald, Third Earl of Havershot, is a boxing blue on a mission to save his wayward cousin from the fleshpots of Hollywood. Both are under anaesthetic at the dentists when something strange happens - and their identities are swapped in the ether. Suddenly Joey can use his six-foot frame to get his own back on his Hollywood persecutors. But Reggie has to endure everything Joey had to put up with in the horrible life of a child star - including kidnap. Laughing Gas is Wodehouse's brilliantly funny take on the 'If I were you' theme - a wry look at the dangers of getting what you wish for in the movie business and beyond.
Follows a troubled psychoanalyst as he seduces both strangers and patients and dangles clues to his immoral behavior in the face of his wife Akiko.