Countering recent hype around technology, a leading expert argues that the endurance of dictatorship in China owes less to facial recognition AI and GPS tracking than to the human resources of the Leninist surveillance state. For decades China watchers argued that economic liberalization and increasing prosperity would bring democracy to the world’s most populous country. Instead, the Communist Party’s grip on power has only strengthened. Why? The answer, Minxin Pei argues, lies in the effectiveness of the Chinese surveillance state. And the source of that effectiveness is not just advanced technology like facial recognition AI and mobile phone tracking. These are important, but what matters more is China’s vast, labor-intensive infrastructure of domestic spying. Central government data on Chinese surveillance is confidential, so Pei turned to local reports, police gazettes, leaked documents, and interviews with exiled dissidents to provide a detailed look at the evolution, organization, and tactics of the surveillance state. Following the 1989 Tiananmen uprising, the Chinese Communist Party invested immense resources in a coercive apparatus operated by a relatively small number of secret police officers capable of mobilizing millions of citizen informants to spy on those suspected of disloyalty. The CCP’s Leninist bureaucratic structure―whereby officials and party activists penetrate every sector of society and the economy, from universities and village committees to delivery companies, telecommunication firms, and Tibetan monasteries―ensures that Beijing’s eyes and ears are truly everywhere. While today’s system is far more robust than that of years past, it is modeled after mass surveillance implemented under Mao Zedong and Chinese emperors centuries ago. Rigorously empirical and rich in historical insight, The Sentinel State is a singular contribution to our knowledge about coercion in the Chinese state and, more generally, the survival strategies of authoritarian regimes.

Edgar Wilson é “um homem simples que executa tarefas”. Trabalha no órgão responsável por recolher animais mortos em estradas e levá-los para um depósito onde são triturados num grande moedor. Seu colega de profissão, Tomás, é um ex-padre excomungado pela Igreja Católica que distribui extrema unção aos moribundos vítimas de acidentes fatais que cruzam seu caminho. A rotina de Edgar Wilson, absurda em sua pacatez, é alterada quando ele se depara com o corpo de uma mulher enforcada dentro da mata. Quando descobre que a polícia não possui recursos para recolhê-lo — o rabecão está quebrado —, o funcionário é incapaz de deixá-lo à mercê dos abutres e decide rebocar o cadáver clandestinamente até o depósito, onde o guarda num velho freezer, à espera de um policial que, quando chega, não pode resolver a situação. Nos próximos dias, o improvisado esquife receberá ainda outro achado de Wilson, o lacônico herói deste desolador romance kafkiano: desta vez o corpo de um homem. Habituados a conviver com a brutalidade, Edgar e Tomás não se abalam diante da morte, mas conhecem a fronteira, pela qual transitam diariamente, entre o bem e o mal, o homem e o animal. Enquanto Tomás se empenha em salvar a alma, Edgar se preocupa com a carcaça daqueles que cruzam seu caminho. Por isso, os dois decidem dar um fim digno àqueles infelizes cadáveres. Em sua tentativa de devolvê-los ao curso da normalidade, palavra fugidia no universo que Ana Paula Maia constrói magistralmente, os dois removedores de animais mortos conhecerão o insalubre destino de seus semelhantes. Com uma linguagem seca, que mimetiza as estradas pelas quais o romance se desenrola, a autora faz brotar questões existenciais de difícil resolução. O resultado é uma inusitada mescla de romance filosófico e faroeste que revela o poderoso projeto literário de Maia.

On land where enslaved people were once tortured and murdered, the state built a penal colony in the wilderness, where inmates could be rehabilitated, but never escape. Now, decades later, and having only succeeded in trapping men, not changing them for the better, its operations are winding down. But in the prison’s waning days, a new horror is unleashed: every full-moon night, the inmates are released, the warden is armed with rifles, and the hunt begins. Every man plans his escape, not knowing if his end will come at the hands of a familiar face, or from the unknown dangers beyond the prison walls. Ana Paula Maia has once again delivered a bracing vision of our potential for violence, and our collective failure to account for the consequences of our social and political action, or inaction. No crime is committed out of view for this novelist, and her raw, brutal power enlists us all as witness.

In the twelve stories of Heart Lamp, Banu Mushtaq exquisitely captures the everyday lives of women and girls in Muslim communities in southern India. Published originally in the Kannada language between 1990 and 2023, praised for their dry and gentle humour, these portraits of family and community tensions testify to Mushtaq’s years as a journalist and lawyer, in which she tirelessly championed women’s rights and protested all forms of caste and religious oppression. Written in a style at once witty, vivid, colloquial, moving and excoriating, it’s in her characters – the sparky children, the audacious grandmothers, the buffoonish maulvis and thug brothers, the oft-hapless husbands, and the mothers above all, surviving their feelings at great cost – that Mushtaq emerges as an astonishing writer and observer of human nature, building disconcerting emotional heights out of a rich spoken style. Her opus has garnered both censure from conservative quarters as well India’s most prestigious literary awards; this is a collection sure to be read for years to come.

In Her Body and Other Parties, Carmen Maria Machado blithely demolishes the arbitrary borders between psychological realism and science fiction, comedy and horror, fantasy and fabulism. While her work has earned her comparisons to Karen Russell and Kelly Link, she has a voice that is all her own. In this electric and provocative debut, Machado bends genre to shape startling narratives that map the realities of women's lives and the violence visited upon their bodies. A wife refuses her husband's entreaties to remove the green ribbon from around her neck. A woman recounts her sexual encounters as a plague slowly consumes humanity. A salesclerk in a mall makes a horrifying discovery within the seams of the store's prom dresses. One woman's surgery-induced weight loss results in an unwanted houseguest. And in the bravura novella Especially Heinous, Machado reimagines every episode of Law & Order: Special Victims Unit, a show we naively assumed had shown it all, generating a phantasmagoric police procedural full of doppelgangers, ghosts, and girls with bells for eyes. Earthy and otherworldly, antic and sexy, queer and caustic, comic and deadly serious, Her Body and Other Parties swings from horrific violence to the most exquisite sentiment. In their explosive originality, these stories enlarge the possibilities of contemporary fiction. The husband stitch -- Inventory -- Mothers -- Especially heinous -- Real women have bodies -- Eight bites -- The resident -- Difficult at parties

What will the end of the world look like? Will it be an old man slowly turned to gold, flowers raining from the sky, or a hole cut through the wire fencing that keeps the monsters out? Is it someone you love wearing your face, or a good old fashioned inter-dimensional summoning? Does it sound like a howl outside the window, or does it look like coming home? This startling and irresistibly witty collection from the phenomenally talented Moïra Fowley is an exploration of all our darkest impulses and deepest fears.

You can find an alternative cover edition for this ISBN here and here. When Jonathan Harker visits Transylvania to help Count Dracula with the purchase of a London house, he makes a series of horrific discoveries about his client. Soon afterwards, various bizarre incidents unfold in England: an apparently unmanned ship is wrecked off the coast of Whitby; a young woman discovers strange puncture marks on her neck; and the inmate of a lunatic asylum raves about the 'Master' and his imminent arrival. In Dracula, Bram Stoker created one of the great masterpieces of the horror genre, brilliantly evoking a nightmare world of vampires and vampire hunters and also illuminating the dark corners of Victorian sexuality and desire. This Norton Critical Edition includes a rich selection of background and source materials in three areas: Contexts includes probable inspirations for Dracula in the earlier works of James Malcolm Rymer and Emily Gerard. Also included are a discussion of Stoker's working notes for the novel and "Dracula's Guest," the original opening chapter to Dracula. Reviews and Reactions reprints five early reviews of the novel. "Dramatic and Film Variations" focuses on theater and film adaptations of Dracula, two indications of the novel's unwavering appeal. David J. Skal, Gregory A. Waller, and Nina Auerbach offer their varied perspectives. Checklists of both dramatic and film adaptations are included. Criticism collects seven theoretical interpretations of Dracula by Phyllis A. Roth, Carol A. Senf, Franco Moretti, Christopher Craft, Bram Dijkstra, Stephen D. Arata, and Talia Schaffer. A Chronology and a Selected Bibliography are included.

Love. Loyalty. Sacrifice.Grey Flynn has dedicated her life to her mage, Kier.She will be his blade on the battlefield, his healer and protector. The deep well of raw power inside her is Kier's to use. Grey would do anything for Kier - be anything for him - if he would only ask.When a quest to protect the child of an enemy kingdom pulls them into the dangerous heart of their nation's war, Grey and Kier will need to decide what they are willing to sacrifice to protect their secret. For Grey is no ordinary magical well, but heir to the lost island of Locke - the root of all power. If she dies, all magic dies with her.The Second Death of Locke is a devastatingly romantic epic fantasy and about the undying bond between a knight and their mage, perfect for fans of Gideon the Ninth and The Six Deaths of the Saint.

Published in 1942 by French author Albert Camus, The Stranger has long been considered a classic of twentieth-century literature. Le Monde ranks it as number one on its "100 Books of the Century" list. Through this story of an ordinary man unwittingly drawn into a senseless murder on a sundrenched Algerian beach, Camus explores what he termed "the nakedness of man faced with the absurd."

The apocalypse will be televised! A man. His ex-girlfriend's cat. A sadistic game show unlike anything in the universe: a dungeon crawl where survival depends on killing your prey in the most entertaining way possible. In a flash, every human-erected construction on Earth—from Buckingham Palace to the tiniest of sheds—collapses in a heap, sinking into the ground. The buildings and all the people inside have all been atomized and transformed into the dungeon: an 18-level labyrinth filled with traps, monsters, and loot. A dungeon so enormous, it circles the entire globe. Only a few dare venture inside. But once you're in, you can't get out. And what's worse, each level has a time limit. You have but days to find a staircase to the next level down, or it's game over. In this game, it's not about your strength or your dexterity. It's about your followers, your views. Your clout. It's about building an audience and killing those goblins with style. You can't just survive here. You gotta survive big. You gotta fight with vigor, with excitement. You gotta make them stand up and cheer. And if you do have that "it" factor, you may just find yourself with a following. That's the only way to truly survive in this game—with the help of the loot boxes dropped upon you by the generous benefactors watching from across the galaxy. They call it Dungeon Crawler World. But for Carl, it's anything but a game.

A provocative novel about intimacy, love, and consent, following an increasingly obsessive radio host who tests boundaries she didn’t know existed Olive is desperate to get close to Theo—really, really close. She’s always struggled to connect with people. And now she’s in her thirties, single, and so flustered by relationships that she secretly records her conversations, hoping to decipher social clues and find a way to be less alone. Then Theo turns up for a shift at the same food pantry where she volunteers. He’s a surgeon fascinated by human organs, a former soccer player, and possibly as weird as Olive. For the first time, someone seems to crave and understand her. Every recording Olive makes of Theo is a balm, which just makes her more afraid of losing him. The only solution seems to be to bind him to her forever. Luckily, the gap between Theo’s front teeth is just wide enough for something—or someone—to slip inside. Arresting and immersive, Open Wide explores the boundaries of love and the body, as universal human impulses bleed into the surreal.

La lámpara (1946) es la segunda novela de Clarice Lispector y, como el objeto que lleva por título, deslumbra hasta cegar, a la vez ilumina aspectos cruciales de la narrativa de la siempre personalísima autora brasileña. Reducido a su núcleo esencial, el texto cuenta la historia de un probable incesto —el de los hermanos Virgínia y Daniel— y de una soledad segura, la de ella, que con su aislamiento distorsiona todas las formas de lo real, enfrentándose y enfrentándonos a la evidencia de la fragilidad de nuestra manera de relacionarnos con los demás y con el mundo. Porque la mirada de Virgínia no hace concesiones y penetra hasta esos rincones del yo que los adultos convenimos desde siempre en ocultar. Por eso, cuando llega el sorprendente y rápido desenlace de la trama, todos asentimos al unísono, comprendiendo de inmediato que era el único final posible.(Biblioteca Clarice Lispector)