A tale of international conspiracy, cinematic intrigue, memory, mysticism, and murder In The Dead, the follow-up to his acclaimed novel Imperium (a Publishers Weekly Best Book of the Year), Christian Kracht mines the feverish early days of Weimar Germany for a Gothic tale of global conspiracy, personal loss, and historical entanglements large and small. In Berlin, Germany, in the early 1930s, the acclaimed Swiss film director Emil Nägeli receives the assignment of a lifetime: travel to Japan and make a film to establish the dominance of Adolf Hitler’s Nazi empire once and for all. But his handlers are unaware that Nägeli has colluded with the Jewish film critics to pursue an alternative objective — to create a monumental, modernist, allegorical spectacle to warn the world of the horror to come. Meanwhile, in Japan, the film minister Masahiko Amakasu intends to counter Hollywood’s growing influence and usher in a new golden age of Japanese cinema by exploiting his Swiss visitor. The arrival of Nägeli’s film-star fiancée and a strangely thuggish, pistol-packing Charlie Chaplin — as well as the first stirrings of the winds of war — soon complicates both Amakasu’s and Nägeli’s plans, forcing them to face their demons . . . and their doom.

Selma Berg, en frejdig sextonåring med konstnärsdrömmar, gifts bort med en betydligt äldre man. Det är hennes utveckling från naiv ung flicka till mogen kvinna, som Pengar handlar om. Romanen bygger i mycket på Victoria Benedictssons egna erfarenheter men är också ett inlägg i den indignerade kvinnosaksdebatt, som bröt fram på 1870- och 80-talen. Vad Victoria Benedictsson främst vände sig mot var att unga kvinnor, sexuellt ovetande och genom felaktig uppfostran fyllda av romantiska föreställningar, tvingades in i äktenskapet utan att inse vad det innebar.

Nøjsomheden er en rå og kærlighedsfuld roman om Mona, der bor i ghettoen Nøjsomheden og skal finde vej i livet med en spraglet familie af samlere, pushere og handlekraftige kvinder. Selv drømmer hun sig væk i bøgernes verden og skriver små post-it-anmeldelser på de brugte værker i Nøjsomhedens byttecentral ved vaskekælderen. En dag får Mona gennem moster Tut arbejde i Lindas Boghandel, og her bemærker hun en ung mand, der åbner bøgerne lige så nænsomt som hun selv. Nikolaj er på udkig efter Søren Ulrik Thomsens City Slang, mens Mona er mere til Tove Ditlevsen og Sophus Claussen. De mødes over bøgerne, og selvom Mona lige skal tyde, hvad der sker i pauserne mellem Nikolajs sætninger, bliver hun helt og aldeles forgabt i ham. Men Monas tidligere kærlighedsliv har været en blandet affære, og det er en krævende øvelse for hende at bevæge sig håbefuldt og drømmende gennem tilværelsen.  Nøjsomheden er en medrivende roman om at blive til som menneske gennem bevidstheden om, hvor man kommer fra.

In der kleinen schottischen Hafenstadt Stromness auf den Orkney-Inseln, hoch im kalten europäischen Norden, lebt Paul, ein Schweizer Dekorateur und Inneneinrichter und geht seiner profanen Erwerbsarbeit nach, dem home staging: leerstehende Immobilien für potenzielle Käufer europaweit und zeitweilig so zu inszenieren, daß diese sich darin sofort ein Leben voller Schönheit und Sinn vorstellen können. Als er ausgerechnet von einem Designmagazin, das keinen Internetauftritt hat, dessen wechselnde Habitus-Ansagen ihn aber schon immer inspiriert und beeinflusst haben, einen zwar obskuren, aber lukrativen Auftrag aus Norwegen erhält, begibt er sich auf eine Reise, die ihn an seine Grenzen und weit darüber hinaus führt: Erst nach Stavanger, zu einem reichlich undurchsichtigen Redakteur namens Cohen und zum Green Mountain Data Centre, einem der größten Cloud-Speicher der Welt, einer Riesenanlage, die er innen befremdlicherweise in einem perfekten Weiß streichen soll, und anschließend bis ans Ende der erfahrbaren Welt. Christian Krachts verstörender Reiseroman aus dem Geiste einer radikalen Romantik erzählt eine faszinierende Geschichte, schon immer erinnert, aber noch nie gehört, vom Hier und vom Dort, und katapultiert uns aus unserem vielleicht auch nur geträumten Jetzt, aus unserer spätmodernen, leerlaufenden Zivilisation in eine gleissende, verspiegelte Landschaft der Literatur. Unser Leben: ein Traum.

Selma Berg, en frejdig sextonåring med konstnärsdrömmar, gifts bort med en betydligt äldre man. Det är hennes utveckling från naiv ung flicka till mogen kvinna, som Pengar handlar om. Romanen bygger i mycket på Victoria Benedictssons egna erfarenheter men är också ett inlägg i den indignerade kvinnosaksdebatt, som bröt fram på 1870- och 80-talen. Vad Victoria Benedictsson främst vände sig mot var att unga kvinnor, sexuellt ovetande och genom felaktig uppfostran fyllda av romantiska föreställningar, tvingades in i äktenskapet utan att inse vad det innebar.

What if you woke up one morning and found you’d acquired another self―a double who was almost you and yet not you at all? What if that double shared many of your preoccupations but, in a twisted, upside-down way, furthered the very causes you’d devoted your life to fighting against? Not long ago, the celebrated activist and public intellectual Naomi Klein had just such an experience―she was confronted with a doppelganger whose views she found abhorrent but whose name and public persona were sufficiently similar to her own that many people got confused about who was who. Destabilized, she lost her bearings, until she began to understand the experience as one manifestation of a strangeness many of us have come to know but struggle to define: AI-generated text is blurring the line between genuine and spurious communication; New Age wellness entrepreneurs turned anti-vaxxers are scrambling familiar political allegiances of left and right; and liberal democracies are teetering on the edge of absurdist authoritarianism, even as the oceans rise. Under such conditions, reality itself seems to have become unmoored. Is there a cure for our moment of collective vertigo? Naomi Klein is one of our most trenchant and influential social critics, an essential analyst of what branding, austerity, and climate profiteering have done to our societies and souls. Here she turns her gaze inward to our psychic landscapes, and outward to the possibilities for building hope amid intersecting economic, medical, and political crises. With the assistance of Sigmund Freud, Jordan Peele, Alfred Hitchcock, and bell hooks, among other accomplices, Klein uses wry humor and a keen sense of the ridiculous to face the strange doubles that haunt us―and that have come to feel as intimate and proximate as a warped reflection in the mirror. Combining comic memoir with chilling reportage and cobweb-clearing analysis, Klein seeks to smash that mirror and chart a path beyond despair. Doppelganger What do we neglect as we polish and perfect our digital reflections? Is it possible to dispose of our doubles and overcome the pathologies of a culture of multiplication? Can we create a politics of collective care and undertake a true reckoning with historical crimes? The result is a revelatory treatment of the way many of us think and feel now―and an intellectual adventure story for our times.

Nøjsomheden er en rå og kærlighedsfuld roman om Mona, der bor i ghettoen Nøjsomheden og skal finde vej i livet med en spraglet familie af samlere, pushere og handlekraftige kvinder. Selv drømmer hun sig væk i bøgernes verden og skriver små post-it-anmeldelser på de brugte værker i Nøjsomhedens byttecentral ved vaskekælderen. En dag får Mona gennem moster Tut arbejde i Lindas Boghandel, og her bemærker hun en ung mand, der åbner bøgerne lige så nænsomt som hun selv. Nikolaj er på udkig efter Søren Ulrik Thomsens City Slang, mens Mona er mere til Tove Ditlevsen og Sophus Claussen. De mødes over bøgerne, og selvom Mona lige skal tyde, hvad der sker i pauserne mellem Nikolajs sætninger, bliver hun helt og aldeles forgabt i ham. Men Monas tidligere kærlighedsliv har været en blandet affære, og det er en krævende øvelse for hende at bevæge sig håbefuldt og drømmende gennem tilværelsen.  Nøjsomheden er en medrivende roman om at blive til som menneske gennem bevidstheden om, hvor man kommer fra.

In der kleinen schottischen Hafenstadt Stromness auf den Orkney-Inseln, hoch im kalten europäischen Norden, lebt Paul, ein Schweizer Dekorateur und Inneneinrichter und geht seiner profanen Erwerbsarbeit nach, dem home staging: leerstehende Immobilien für potenzielle Käufer europaweit und zeitweilig so zu inszenieren, daß diese sich darin sofort ein Leben voller Schönheit und Sinn vorstellen können. Als er ausgerechnet von einem Designmagazin, das keinen Internetauftritt hat, dessen wechselnde Habitus-Ansagen ihn aber schon immer inspiriert und beeinflusst haben, einen zwar obskuren, aber lukrativen Auftrag aus Norwegen erhält, begibt er sich auf eine Reise, die ihn an seine Grenzen und weit darüber hinaus führt: Erst nach Stavanger, zu einem reichlich undurchsichtigen Redakteur namens Cohen und zum Green Mountain Data Centre, einem der größten Cloud-Speicher der Welt, einer Riesenanlage, die er innen befremdlicherweise in einem perfekten Weiß streichen soll, und anschließend bis ans Ende der erfahrbaren Welt. Christian Krachts verstörender Reiseroman aus dem Geiste einer radikalen Romantik erzählt eine faszinierende Geschichte, schon immer erinnert, aber noch nie gehört, vom Hier und vom Dort, und katapultiert uns aus unserem vielleicht auch nur geträumten Jetzt, aus unserer spätmodernen, leerlaufenden Zivilisation in eine gleissende, verspiegelte Landschaft der Literatur. Unser Leben: ein Traum.

Millennial expat couple Anna and Tom are living the dream in Berlin, in a bright, affordable, plant-filled apartment. Their life as young digital creatives revolves around slow cooking, Danish furniture, sexual experimentation and the city’s twenty-four-hour party scene – an ideal existence shared by an entire generation and tantalizingly lived out on social media. But beyond the images, dissatisfaction and ennui burgeon. Work becomes repetitive. Friends move back home, have children, grow up. Frustrated that their progressive politics amount to little more in practice than boycotting Uber, tipping in cash, or never eating tuna, Anna and Tom make a fruitless attempt at political activism. Feeling increasingly trapped in their picture-perfect life, the couple takes ever more radical steps in the pursuit of an authenticity and a sense of purpose perennially beyond their grasp. Superbly translated by Sophie Hughes, Vincenzo Latronico’s Perfection is a taut, spare sociological novel about the emptiness of contemporary existence, scathing and brilliantly affecting.

Stockholm i 1910’erne. I opholdsstuen på Långbro sindssygehus sidder en kvinde hver dag og venter på at blive hentet af sin mand. En yngre medpatient gør hende selskab, og da hun bliver udskrevet, opfordrer kvinden hende til at opsøge hendes mand, som endnu ikke er kommet for at hente hende. Hendes mand viser sig at være Hjalmar Söderberg, tidens mest feterede svenske forfatter. Kvinden er forfatterens hustru Märta Söderberg. Fortælleren kan ikke slippe billedet af Märta, hun fornemmer et magtovergreb og ser i parrets historie en mulighed for at redde sig selv op fra samfundets bund. Hun forlader hospitalet og opsøger Hjalmar Söderberg. I jagten på en fortælling, hun kan sælge til pressen, får hun krænget sig længere ind i kredsen om forfatteren og i forfatteren selv.

MEscrita entre 1819 y 1820, esta obra, profundamente romántica, no fue publicada hasta 1959. Mathilda es una obra pasional e introspectiva que trata sobre el incesto y el suicidio, y que gira en torno a la identidad y a la subjetividad femeninas, atrapadas en el «círculo mágico» de la feminidad convencional y de la claustrofóbica unidad familiar. Mary Shelley dota a esta novela de un marcado carácter autobiográfico. La heroína de Mathilda es el resultado del primer deseo mortal de su padre, y el libro se convierte en un mito fundacional aún más autobiográfico que Frankenstein. Sus páginas nos llevan a lo mejor del Romanticismo inglé en ellas nos encontraremos con la Naturaleza, con relaciones apasionadas y con esa pulsión suicida tan propia de la época.

A traditional American woman, a “tradwife” influencer, suddenly awakens in the brutal reality of 1855—where she must unravel whether this living nightmare is an elaborate hoax, a twisted reality show, or something far more sinister in this sensational debut novel. My name was Natalie Heller Mills, and I was perfect at being alive. Natalie lives a traditional lifestyle. Her charming farmhouse is rustic, her husband a handsome cowboy, her six children each more delightful than the last. So what if there are nannies and producers behind the scenes, her kitchen hiding industrial-grade fridges and ovens, her husband the heir to a political dynasty? What Natalie’s followers—all 8 million of them—don’t know won’t hurt them. And The Angry Women? The privileged, Ivy League, coastal elite haters who call her an antifeminist iconoclast? They’re sick with jealousy. Because Natalie isn’t simply living the good life, she’s living the ideal—and just so happens to be building an empire from it. Until one morning she wakes up in a life that isn’t hers. Her home, her husband, her children—they’re all familiar, but something’s off. Her kitchen is warmed by a sputtering fire rather than electricity, her children are dirty and strange, and her soft-handed husband is suddenly a competent farmer. Just yesterday Natalie was curating photos of homemade jam for her Instagram, and now she’s expected to haul firewood and handwash clothes until her fingers bleed. Has she become the unwitting star of a ruthless reality show? Could it really be time travel? Is she being tested by God? By Satan? When Natalie suffers a brutal injury in the woods, she realizes two things: This is not her beautiful life, and she must escape by any means possible. A gripping, electrifying novel that is as darkly funny as it is frightening, Yesteryear is a gimlet-eyed look at tradition, fame, faith, and the grand performance of womanhood.

Millennial expat couple Anna and Tom are living the dream in Berlin, in a bright, affordable, plant-filled apartment. Their life as young digital creatives revolves around slow cooking, Danish furniture, sexual experimentation and the city’s twenty-four-hour party scene – an ideal existence shared by an entire generation and tantalizingly lived out on social media. But beyond the images, dissatisfaction and ennui burgeon. Work becomes repetitive. Friends move back home, have children, grow up. Frustrated that their progressive politics amount to little more in practice than boycotting Uber, tipping in cash, or never eating tuna, Anna and Tom make a fruitless attempt at political activism. Feeling increasingly trapped in their picture-perfect life, the couple takes ever more radical steps in the pursuit of an authenticity and a sense of purpose perennially beyond their grasp. Superbly translated by Sophie Hughes, Vincenzo Latronico’s Perfection is a taut, spare sociological novel about the emptiness of contemporary existence, scathing and brilliantly affecting.

MEscrita entre 1819 y 1820, esta obra, profundamente romántica, no fue publicada hasta 1959. Mathilda es una obra pasional e introspectiva que trata sobre el incesto y el suicidio, y que gira en torno a la identidad y a la subjetividad femeninas, atrapadas en el «círculo mágico» de la feminidad convencional y de la claustrofóbica unidad familiar. Mary Shelley dota a esta novela de un marcado carácter autobiográfico. La heroína de Mathilda es el resultado del primer deseo mortal de su padre, y el libro se convierte en un mito fundacional aún más autobiográfico que Frankenstein. Sus páginas nos llevan a lo mejor del Romanticismo inglé en ellas nos encontraremos con la Naturaleza, con relaciones apasionadas y con esa pulsión suicida tan propia de la época.

In this rowdy, frank reflection on illness, fame, sex, and everything in between, the remarkable mind behind the hit series Girls and the bestselling author of Not That Kind of Girl asks whether fulfilling her creative ambitions has been worth the pain. For the last decade, as she’s spent countless hours in doctor’s waiting rooms searching for diagnoses, treatments, and relief, being the owner and operator of Lena Dunham’s body has felt, as she puts it, 'like towing a wrecked car across town at midnight.' It’s not easy dragging a wrecked car anywhere, much less to the Met Gala while sewn into a gold lamé corset. Or to the set of the hit show that you – as a twenty-five-year-old – are writing, directing, producing, and starring in. Or to the White House, the Golden Globes, or your publicist’s office to discuss the latest internet disaster. But Dunham does it – even if it means interminable hospital stays, vomiting in the bathroom when she’s meant to be meeting Oprah, or terrifying those closest to her – because she can no longer tell the difference between fighting to do what she loves and being a servant to her own ambition. All the while, she is holding out for a love that can withstand her personal and public challenges and, more than anything, yearning to feel like herself again – if only she could remember who that self was. As Dunham takes us through her journey, tracking her rise to fame – from selling the pilot of Girls to the present – in three acts, it becomes clear that the spotlight casts long shadows, distorting the relationships she once held dear and isolating everyone in its glare. When an endless supply of drugs can’t protect you from pain – and begins to control your every move – being famous doesn’t stand a chance against the darker corners of the human experience. In Famesick, Dunham asks herself what the cost of fulfilling her dreams has really been, and whether it was worth it. What she finds is deeper than physical relief, and more lasting, as she learns to live with what she can’t change and turn her regrets into wisdom that can carry her forward, as she reconnects to what, and who, she loves.

In this rowdy, frank reflection on illness, fame, sex, and everything in between, the remarkable mind behind the hit series Girls and the bestselling author of Not That Kind of Girl asks whether fulfilling her creative ambitions has been worth the pain. For the last decade, as she’s spent countless hours in doctor’s waiting rooms searching for diagnoses, treatments, and relief, being the owner and operator of Lena Dunham’s body has felt, as she puts it, 'like towing a wrecked car across town at midnight.' It’s not easy dragging a wrecked car anywhere, much less to the Met Gala while sewn into a gold lamé corset. Or to the set of the hit show that you – as a twenty-five-year-old – are writing, directing, producing, and starring in. Or to the White House, the Golden Globes, or your publicist’s office to discuss the latest internet disaster. But Dunham does it – even if it means interminable hospital stays, vomiting in the bathroom when she’s meant to be meeting Oprah, or terrifying those closest to her – because she can no longer tell the difference between fighting to do what she loves and being a servant to her own ambition. All the while, she is holding out for a love that can withstand her personal and public challenges and, more than anything, yearning to feel like herself again – if only she could remember who that self was. As Dunham takes us through her journey, tracking her rise to fame – from selling the pilot of Girls to the present – in three acts, it becomes clear that the spotlight casts long shadows, distorting the relationships she once held dear and isolating everyone in its glare. When an endless supply of drugs can’t protect you from pain – and begins to control your every move – being famous doesn’t stand a chance against the darker corners of the human experience. In Famesick, Dunham asks herself what the cost of fulfilling her dreams has really been, and whether it was worth it. What she finds is deeper than physical relief, and more lasting, as she learns to live with what she can’t change and turn her regrets into wisdom that can carry her forward, as she reconnects to what, and who, she loves.