**Shortlisted for the National Book Award for Translated Literature**A sumptuous and surreal historical reimagining of one of South America’s best-known trans men, Antonio de ErausoThe new novel from the International Booker-shortlisted author of The Adventures of China Iron'Cabezón Cámara’s historical fiction plays out like confession or revelation... glowing white hot, dancing like the heart of a pyre' Financial Times'Profoundly resonant with our current moment… a story that is not only inclusive but also redemptive' Chicago Review of BooksFrom deep in the wilds of the New World, Antonio de Erauso writes a letter to his aunt, the prioress of the convent he escaped as a young girl. Since leaving his past behind, he's become Antonio, conquistador. Now, hiding in the jungle and hounded by the army he deserted, Antonio is caring for two Guaraní girls he rescued from enslavement. But the New World has one more metamorphosis in store, which might save them all from extinction.We Are Green and Trembling is a masterful subversion of Latin American history, religious tyranny and the mistreatment of women and indigenous people - finding in the rainforest a magical space where transformation is not only possible but necessary.‘Gabriela Cabezón Cámara’s writing is singular in the Spanish an intrepid pulse that shakes and disarms us’ FERNANDA MELCHOR‘Not only does Cámara challenge and incite us, she also gives us the subversive courage to think of ourselves as more human, more alive, and more luminous than ever’ SAMANTA SCHWEBLIN'Sensuous and searing—a queer anticolonial picaresque' Publishers WeeklyTranslated by Robin Myers

The epic tale of how one ancient language went global, and the scientific quest to trace it back to its roots, from the celebrated author of Pale RiderAs the planet emerged from the last ice age, a language was born between Europe and Asia, by the Black Sea. This ancient tongue, which we call Proto-Indo-European, soon exploded out of its cradle, changing and fragmenting as it went, until its offspring were spoken from Scotland to China. Today those descendants constitute the world’s largest language family, the thread that connects disparate Dante’s Inferno to the Rig Veda, The Lord of the Rings to the love poetry of Rumi. Indo-European languages are spoken by nearly half of humanity. How did this happen?Laura Spinney set out to answer that question, retracing the Indo-European odyssey across continents and millennia. With her we travel the length of the steppe, navigating the Caucasus, the silk roads and the Hindu Kush. We follow in the footsteps of nomads and monks, Amazon warriors and lion kings – the ancient peoples who spread these languages far and wide. In the present, Spinney meets the scientists on a thrilling mission to retrieve those lost the linguists, archaeologists and geneticists who have reconstructed this ancient diaspora. What they have learned has vital implications for our modern world, as people and their languages are on the move again. Proto is a revelatory portrait of world history in its own words.

Using a blend of cultural criticism, humor, and personal memoir akin to Jia Tolentino’s Trick Mirror or Grace Perry’s The 2000s Made Me Gay, Joelle Kidd writes about her evangelical adolescence through the lens of Christian pop culture of the early 2000s, giving readers a peek into this odd subculture and insight into how evangelicalism’s growing popularity around the turn of the millennium has shaped culture and politics — including today’s far right. An empathetic, funny, and sharply critical collection of essays exploring the Christian pop culture of the 2000s and its influence on today’s politically powerful evangelicalism In 1999, after three years of secular living in Eastern Europe, Joelle Kidd moved back to Canada and was enrolled in the strange world of an evangelical Christian school. In Jesusland, Joelle writes about the Christian pop culture that she was suddenly immersed in, from perky girl bands to modest styling tips, and draws connections between this evangelical subculture and the mainstream, a tense yet reciprocal relationship that both disavows the secular while employing its media markers. But none of this was just about catchy songs: every abstinence quiz in a teen magazine was laying the foundation for what would become a conservative Christian movement that threatens women’s healthcare, attacks queer and trans rights, and drives present-day political division. Through nine incisive, honest, and emotional essays, Jesusland exposes the pop cultural machinations of evangelicalism, while giving voice to aughts-era Christian children and teens who are now adults looking back at their time measuring the length of their skirts, and asking each other if their celebrity crush was Christian enough. With care and generosity, Jesusland shows us how the conservative evangelical movement became the global power it is today by exploring the pop culture that both reflected and shaped an entire generation of young people.

"Between Haiti and the Dominican Republic flows a river filled with ghosts," Edwige Danticat writes in her superb preface to Massacre River : "Over time the river has been the site of several massacres including the one which is the subject of this tour de force by René Philoctete." In 1937 the power-mad racist Generalissimo Trujillo ordered the slaughter of thousands and thousands of Haitians and, as Philoctete puts it, death set up shop everywhere. At the heart of Massacre River is the loving marriage of the Dominican Pedro and the Haitian Adele in a little town on the Dominican border. On his way to work, Pedro worries that a massacre is in the making; an olive-drab truck packed with armed soldiers rumbles by. And then the church bells begin to ring, and there is the relentless voice on the radio everywhere, urging the slaughter of all the Haitians. Operation Cabezas Haitianas (Haitian Heads) is underway, the soldiers shout, "Perejil! [Parsley!] Perish! Punish!" Haitians try to pronounce "perejil" correctly, but fail, and weep. The town is in an uproar, Adele is ordered to say "perejil" but stammers. And Pedro runs home and searches for his beloved wife, searches and searches " The characters of this book not only inspired the love and outrage of an extraordinary writer like Philoctete," writes Edwige Danticat, "but continue to challenge the meaning of community and humanity in all of us."

“The best book on Haiti in a very long time . . . powerful, spot on, likely the best written.” —Dany Laferrière An astonishing novel of raw beauty about gang life, sex work, and social media in HaitiCécé La Flamme, as she’s known by her loyal Facebook friends, captures photographs of still bodies. Figures scorched and bruised, left to the rubble of the Cité of Divine Power. When she posts an image of a corpse, Cécé’s followers skyrocket. “Nothing got more attention than a good corpse that was nice and warm or already rotting.” Just beside visions of rot and neglect, she posts pictures of her toes, gullies crisscrossing the cité, and her own lips painted blue. With every image, Cécé seeks control and wants to create a frank, intimate record of the terror in her cité. Cécé’s world begins and ends with the cité – a slum peopled by gangs, yelping kids, grandmothers, junkies, and preachers. The very gate that encloses the cité was constructed by militant gang members. First boss Freddy, then Joël, then Jules César rule the gang that holds the cité in a chokehold. Sharp, sincere, and desperate, Cécé cleaves life for herself out of social media, sex work, and attempts at friendship with other women. When an American journalist offers to buy the rights to Cécé’s photographs, she demands double the cash. When an abusive former client dies, she wears hot pink to his funeral. Emmelie Prophète’s novel is fierce, devastating, and suggestive – a record of a woman clawing back control.

“The best book on Haiti in a very long time . . . powerful, spot on, likely the best written.” —Dany Laferrière An astonishing novel of raw beauty about gang life, sex work, and social media in HaitiCécé La Flamme, as she’s known by her loyal Facebook friends, captures photographs of still bodies. Figures scorched and bruised, left to the rubble of the Cité of Divine Power. When she posts an image of a corpse, Cécé’s followers skyrocket. “Nothing got more attention than a good corpse that was nice and warm or already rotting.” Just beside visions of rot and neglect, she posts pictures of her toes, gullies crisscrossing the cité, and her own lips painted blue. With every image, Cécé seeks control and wants to create a frank, intimate record of the terror in her cité. Cécé’s world begins and ends with the cité – a slum peopled by gangs, yelping kids, grandmothers, junkies, and preachers. The very gate that encloses the cité was constructed by militant gang members. First boss Freddy, then Joël, then Jules César rule the gang that holds the cité in a chokehold. Sharp, sincere, and desperate, Cécé cleaves life for herself out of social media, sex work, and attempts at friendship with other women. When an American journalist offers to buy the rights to Cécé’s photographs, she demands double the cash. When an abusive former client dies, she wears hot pink to his funeral. Emmelie Prophète’s novel is fierce, devastating, and suggestive – a record of a woman clawing back control.

Corée, 1929. Dans la capitale qu'on appelait alors Gyeongsung, tandis que l'occident diffuse peu à peu sa culture « moderne », le Japon impose la loi de l'occupant. Arisa Jo, la fille d'un riche marchand, et Jun Seomoon, le jeune héritier d'une noblesse déchue, vont incarner ces influences contraires et les conflits intérieurs violents qu'elles font naître en chaque coréen.