Winner of the Prix Femina and the Goncourt des Lycéens in 2023 and the Strega Prize in 2024, the book that shook France to its core. “Sad Tiger forces you to see, to really see, what it means to be a child abused by an adult.” (Annie Ernaux)Like Annie Ernaux or Sheila Heti, Neige Sinno has created a powerful new literary autobiographical form.Through its radical honesty, and also through its thoughtful interrogations into the nature of life and literature, Neige Sinno shares with her readers her journey from someone who considered her life to have been stolen from her to someone who over the twenty years that elapsed from her reporting the rape to writing this book, somehow got her life back, all without ever being able to erase or even change what had happened to her as a child.“Reading Sad Tyger is like descending into an abyss with your eyes open. It forces you to see, to really see, what it means to be a child abused by an adult, for years. Everyone should read it. Especially teenagers.” —Annie ErnauxThis international literary phenomenon—the title inspired by William Blake’s poem The Tyger—is a forensic exploration into how to speak about the unspeakable. Repeatedly exposed to sexual violence as a child, Neige Sinno tells of a family life built around lies and deception. She was seven or eight years old when her stepfather started abusing her. At fourteen or fifteen the abuse stopped. At nineteen, she decides to break her silence which leads to a public trial and prison for her stepfather, and Sinno starts a new life in Mexico, far away from France.It is through the craft of her narrative and her powerful direct analysis of the deep-seated taboo that Sinno explores the different facets of memory, her own, her mother’s, as well as her abusive stepfather’s; and of abuse itself in all its monstrosity and banality. How do we become who we are? What remains unsaid in families? How is society implicated? This harrowing auto-fictional account of the author's sexual abuse as a child is mediated through analysis of various literary texts, including works by Vladimir Nabokov, Virginia Woolf, Toni Morrison, Christine Angot, and Virginie Despentes.In this unparalleled work that contains a thousand questions, a thousand jewel-like insights, there is an abiding how to protect others from the rape, the incest that she herself endured? In the midst of so much darkness, an answer reads crystal by speaking up and asking questions. A striking, shocking, and necessary masterpiece.Winner of the US and UK Goncourt Prizes, 2024Winner of the Goncourt Prizes in Belgium, Slovakia, India, Turkey, Tunisia, and South Korea, 2023Winner of the European Strega Prize, 2024Winner of the Goncourt des Lyceens, 2023Winner of the Femina Prize, 2023Winner of the Le Monde Literary Prize, 2023Winner of the Inrockuptibles Prize, 2023Shortlisted for the Medicis Prize, 2023Shortlisted for the Decembre Prize, 2023

The book - is our tribute to the human imagination, to the ability to think outside the canvas of ordinary reality, it is made for dreamers by dreamers. This book is inspired by humanity, which in turn is constantly inspired by nature and the insights that it provides. Insight is not something that belongs to man, it is something that happens to him. As if a bright flashlight suddenly illuminates the secret underside of the universe and you are struck by how precisely and elegantly and thoughtfully everything around you is arranged. Dedicating this book to the insights and inventions themselves, we didn't talk about the authors of the inventions, so it was fair to remove our names from the cover as well, making the book a mysterious artifact. And we really hope that you find it really fascinating, thought-provoking and in many ways precious.

Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book AwardPostcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book AwardPostcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

Mayo de 1980. La ciudad de Gwangju se moviliza contra la dictadura militar de Chun Doo-hwan, que hace unos meses tomó el poder en Corea del Sur. La oposición civil, liderada por los estudiantes universitarios, se subleva a favor de la democracia, pero el ejército reprime cruelmente las protestas disparando indiscriminadamente a la multitud, sin hacer distinciones entre estudiantes y civiles. Tras la sanguinaria matanza, un joven busca el cadáver de un amigo, un alma intenta aferrarse a su cuerpo abandonado y a sus recuerdos, y un país brutalizado busca su voz. En esta novela polifónica, las víctimas y los supervivientes que los lloran se enfrentan a la censura, a la negación, al perdón, a la culpa y a la memoria de un episodio traumático que sigue resonando en nuestros días. Han Kang, galardonada con el premio Nobel de Literatura «por su intensa prosa poética que confronta los traumas históricos y expone la fragilidad de la vida humana», homenajea a las víctimas de la masacre de su ciudad natal a través de las voces de los mártires de la dictadura surcoreana. Actos humanos es una novela brutal, profundamente atemporal y universal que nos habla de las heridas colectivas, la represión y la violencia humana.