A literary horror debut about a boy who transforms into a monster, a monster who tries to be a man, and the people who love him in every form he takes Grieving mother Magos cuts out a piece of her deceased eleven-year-old son Santiago’s lung. Acting on fierce maternal instinct and the dubious logic of an old folktale, she nurtures the lung until it gains sentience, growing into the carnivorous little Monstrilio she keeps hidden within the walls of her family’s decaying Mexico City estate. Eventually, Monstrilio begins to resemble the Santiago he once was, but his innate impulses—though curbed by his biological and chosen family’s communal care—threaten to destroy this fragile second chance at life. A thought-provoking meditation on grief, acceptance, and the monstrous sides of love and loyalty, Gerardo Sámano Córdova blends bold imagination and evocative prose with deep emotional rigor. Told in four acts that span the globe from Brooklyn to Berlin, Monstrilio offers, with uncanny clarity, a cathartic and precise portrait of being human.

90 classic titles celebrating 90 years of Penguin Books‘I walked in a daze of illusions toward my future.’Deeply felt and told with an intrepid spirit, Tales from the Heart are the intimate, formative stories from the childhood of the legendary Caribbean writer, Maryse Condé.These affecting vignettes follow Condé’s early encounters with love, grief, friendship, as she navigates the pernicious legacy of slavery and colonialism in her home of Guadeloupe and as a student in Paris.

A brilliant global narrative that unravels the defining story of the past thousand years 'Magisterial in scope and ambition, Sven Beckert’s Capitalism is a dazzling global history of the forces that have shaped – and continue to shape – our world. A true tour de force' - Peter Frankopan Sven Beckert has written what will surely become a key reference on the global history of modern capitalism, from 1450 until the present day. A monumental book, a must-read' - Thomas Piketty, author of Capital in the Twenty-First Century No other phenomenon has shaped human history as decisively as capitalism. It structures how we live and work, how we think about ourselves and others, how we organise our politics. Sven Beckert situates the story of capitalism within the largest conceivable geographical and historical framework in this fascinating new book.Capitalism, argues Beckert, was born global. Emerging from merchant communities across Asia, Africa and Europe, capitalism’s radical recasting of economic life rooted itself only gradually. Then it burst onto the world scene, as European states and merchants built a powerful alliance that would propel them across the oceans. This epic drama corresponded at no point to an idealised dream of free markets. All along, state-backed institutions and imperial expansions shaped its dynamics.Capitalism decentres the European perspective, highlighting agency, resistance, innovation and ruthless coercion around the world through to the present with the rise of Asian economies, particularly China. Sven Beckert doesn’t merely add up capitalism’s debits and credits in this monumental book, but allows us to think afresh about the past to help us re-imagine the future.

When Plato set his dialogs, written texts were disseminated primarily by performance and recitation. He wrote them, however, when literacy was expanding. Jill Frank argues that there are unique insights to be gained from appreciating Plato’s dialogs as written texts to be read and reread. At the center of these insights are two distinct ways of learning to read in the dialogs. One approach that appears in the Statesman , Sophist , and Protagoras , treats learning to read as a top-down affair, in which authoritative teachers lead students to true beliefs. Another, recommended by Socrates, encourages trial and error and the formation of beliefs based on students’ own fallible experiences. In all of these dialogs, learning to read is likened to coming to know or understand something. Given Plato’s repeated presentation of the analogy between reading and coming to know, what can these two approaches tell us about his dialogs’ representations of philosophy and politics?            With Poetic Justice , Jill Frank overturns the conventional view that the Republic endorses a hierarchical ascent to knowledge and the authoritarian politics associated with that philosophy. When learning to read is understood as the passive absorption of a teacher’s beliefs, this reflects the account of Platonic philosophy as authoritative knowledge wielded by philosopher kings who ruled the ideal city. When we learn to read by way of the method Socrates introduces in the Republic , Frank argues, we are offered an education in ethical and political self-governance, one that prompts citizens to challenge all claims to authority, including those of philosophy.

When her father leaves the Church in a crisis of conscience, Margaret Hale is uprooted from her comfortable home in Hampshire to move with her family to the north of England. Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction. In North and South, Elizabeth Gaskell skillfully fuses individual feeling with social concern, and in Margaret Hale creates one of the most original heroines of Victorian literature.

When her father leaves the Church in a crisis of conscience, Margaret Hale is uprooted from her comfortable home in Hampshire to move with her family to the north of England. Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction. In North and South, Elizabeth Gaskell skillfully fuses individual feeling with social concern, and in Margaret Hale creates one of the most original heroines of Victorian literature.

The Bluest Eye is Toni Morrison's first novel, a book heralded for its richness of language and boldness of vision. Set in the author's girlhood hometown of Lorain, Ohio, it tells the story of black, eleven-year-old Pecola Breedlove. Pecola prays for her eyes to turn blue so that she will be as beautiful and beloved as all the blond, blue-eyed children in America. In the autumn of 1941, the year the marigolds in the Breedloves' garden do not bloom. Pecola's life does change—in painful, devastating ways. With its vivid evocation of the fear and loneliness at the heart of a child's yearning, and the tragedy of its fulfillment. The Bluest Eye remains one of Toni Morrison's most powerful, unforgettable novels- and a significant work of American fiction.

Through political and cultural analysis of representations of the so-called war on drugs, Oswaldo Zavala makes the case that the very terms we use to describe drug traffickers are a constructed subterfuge for the real narcos: politicians, corporations, and the military. Though Donald Trump's incendiary comments and monstrous policies on the border revealed the character of a deeply depraved leader, state violence on both sides of the border is nothing new. Immigration has endured as a prevailing news topic, but it is a fixture of modern society in the neoliberal era; the future will be one of exile brought on by state violence and the plundering of our natural resources to sate capitalist greed. Yet the realities of violence in Mexico and along the border are obscured by the books, films, and TV series we consume. In truth, works like Sicario, The Queen of the South, and Narcos hide Mexico's political realities. Alongside these examples, Zavala discusses Charles Bowden, 2666 by Roberto Bolaño, and other important Latin American writers as examples of those who do capture the realities of the drug war. Translated into English by William Savinar, Drug Cartels Do Not Exist will be useful for journalists, political scientists, philosophers, and writers of any kind who wish to break down the constructed barriers--physical and mental--created by those in power around the reality of the Mexican drug trade.

This Everyman’s Library edition–containing in one volume all three cantos, Inferno, Purgatorio, and Paradiso–includes an introduction by Nobel Prize—winning poet Eugenio Montale, a chronology, notes, and a bibliography. Also included are forty-two drawings selected from Botticelli’s marvelous late-fifteenth-century series of illustrations. Translated in this edition by Allen Mandelbaum, The Divine Comedy begins in a shadowed forest on Good Friday in the year 1300. It proceeds on a journey that, in its intense recreation of the depths and the heights of human experience, has become the key with which Western civilization has sought to unlock the mystery of its own identity. Mandelbaum’s astonishingly Dantean translation, which captures so much of the life of the original, renders whole for us the masterpiece of that genius whom our greatest poets have recognized as a central model for all poets.

The Bluest Eye is Toni Morrison's first novel, a book heralded for its richness of language and boldness of vision. Set in the author's girlhood hometown of Lorain, Ohio, it tells the story of black, eleven-year-old Pecola Breedlove. Pecola prays for her eyes to turn blue so that she will be as beautiful and beloved as all the blond, blue-eyed children in America. In the autumn of 1941, the year the marigolds in the Breedloves' garden do not bloom. Pecola's life does change—in painful, devastating ways. With its vivid evocation of the fear and loneliness at the heart of a child's yearning, and the tragedy of its fulfillment. The Bluest Eye remains one of Toni Morrison's most powerful, unforgettable novels- and a significant work of American fiction.

A New York Times Notable Book (2020) A Guardian Best Book of 2020 A Literary Hub Favorite Book of 2020 The Witch is dead. And the discovery of her corpse—by a group of children playing near the irrigation canals—propels the whole village into an investigation of how and why this murder occurred. Rumors and suspicions spread. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters that most would write off as utterly irredeemable, forming a lasting portrait of a damned Mexican village. Like Roberto Bolano’s 2666 or Faulkner’s greatest novels, Hurricane Season takes place in a world filled with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more terrifying and more terrifyingly real the deeper you explore it.