The Holocaust and the atomic bombings of Hiroshima and Nagasaki invoked in graphic terms the specter of total human destruction. In response, a new international order of reparations and human rights arose from the ashes of World War II. This legal regime sought to subrogate the sovereignty of the nation-state in order to defend the sovereignty of the human being. While the Holocaust’s history is settled—Nazis were perpetrators and Jews were victims—there remains little historical consensus as to the victims and perpetrators of the atomic bombings. In Reparations and the Human, David L. Eng investigates a history of reparations across the Transpacific. He analyzes how concepts of reparation established during colonial settlement and the European Enlightenment shape contemporary configurations of the human and human rights, determining who can be recognized as victims, who must be seen as perpetrators, and who deserves repair. As demands for reparations now occupy center stage in debates concerning unresolved legacies of dispossession and Transatlantic slavery, Eng considers how the Cold War Transpacific provides a limit case for the politics of repair and definitions of the human.

Canada as a Settler Colony on the Question of Palestine explores Canada-Palestine relations through a settler colonial lens. The authors argue that there are direct parallels between Canada’s settler colonial project and its support for the Israeli settler colonial dispossession of Palestinians. Chapters reflect on community politics and activism, migration, orientalism, and critical race theory. Among its unique contributions, the volume provides a fresh look at Canada’s foreign policy as informed and shaped by its own history of settler colonialism. The collection also illuminates the breadth and depth of Palestinian life in Canada. Throughout, the chapters are connected by common themes of settler colonial destruction, dispossession, segregation, and otherness, as well as accounts of people challenging those processes in search of a better and fairer world. The book will be of interest to scholars in Indigenous Studies, International Relations, Peace and Conflict Studies, Canadian Studies, Palestine Studies, and beyond. Samer Abdelnour, Nadia Abu-Zahra, Rachad Antonius, Lina Assi, M. Muhannad Ayyash, Peige Desjarlais, Randa Farah, Azeezah Kanji, Maurice Jr. Labelle, Nadia Naser-Najjab, Emily Regan Wills, Mira Sucharov, Jeremy Wildeman. Foreword by Veldon Coburn.

A female driller takes charge of an isolated offshore oil rig with an entirely male crew in this propulsive literary debut about ambition, greed and the deadly consequences of ignoring Mother Nature. For readers of Greenwood and Wild Dark Shore.When Zainab, an expert driller, is tasked with overseeing a high-stakes oil rig operation, she leaves behind her pregnant sister to embark on the most challenging assignment of her career. But there’s a catch. The rig is teetering on the edge of disaster, and as a woman, Zainab’s experience isn’t enough to convince the crew of hardened men that she has any place among them, let alone at the helm.The sole woman on the rig, isolated at sea, Zainab is hypervigilant towards potential threats. But as she investigates the issues that have plagued the rig, she quickly grasps that an even more pressing danger may lie in the cold calculations that underpin the entire operation, placing profit before safety, sustainability and sense. When all her warnings are ignored, Zainab must race to prevent the looming catastrophe that threatens the rig, the lives of the crew and the very welfare of the sea before it’s too late.Haunting, original, and as poetic as it is propulsive, At Sea is a taut and gripping novel about principle, prejudice, and the capitalist endeavors that overlook the concerns of women—and of Mother Nature herself.

For readers of The Cloisters and Counterfeit, Natalie Lemle’s debut novel offers an insider’s view into the world of stolen artifacts and the hidden networks that link museums to organized crime, when a woman is forced to remember the summer she spent on an archaeological dig in Italy, as everyone she knew then may now be in danger. Successful trusts and estates attorney Lena Connolly is asked by a colleague to assist on a case: the Italian government claims an artifact was looted and sold to a museum illegally and is seeking repatriation. The object in question is a cup made of dichroic glass, which would have been rare even in Ancient Rome, let alone thousands of years later. Lena has done everything she can to put the study abroad summer she spent on an archaeological dig in the Italian Alps behind her. Her dreams of being an archaeologist shattered when her mentor Cyrille disappeared and her enigmatic boyfriend Giamma went dark, but with this new case, the past comes roaring back. Told in alternating timelines, Artifacts follows young Lena as she falls in love with both archaeology and Giamma on the streets of Torino while her adult self pieces together what truly happened on the dig, now a fully restored Roman villa with World Heritage status. The dichroic cup, Lena discovers, may have been taken from the very site she helped unearth. Powerful and exuberant, Natalie Lemle’s Artifacts brings readers behind the museum glass and asks questions about cultural heritage and the historical preservation of our shared sense of humanity.

Already famous as the inspiration for the filmmaker Béla Tarr’s six-hour masterpiece, Satantango is proof that “the devil has all the good times.” The story of Satantango, spread over a couple of days of endless rain, focuses on the dozen remaining inhabitants of an unnamed isolated hamlet: failures stuck in the middle of nowhere. Schemes, crimes, infidelities, hopes of escape, and above all trust and its constant betrayal are Krasznahorkai’s meat. “At the center of Satantango,” George Szirtes has said, “is the eponymous drunken dance, referred to here sometimes as a tango and sometimes as a csardas. It takes place at the local inn where everyone is drunk. . . . Their world is rough and ready, lost somewhere between the comic and the tragic, in one small insignificant corner of the cosmos. Theirs is the dance of death.” “You know,” Mrs. Schmidt, a pivotal character, tipsily confides, “dance is my one weakness.”

People move to New York looking for magic and nothing will convince them it isn't there. Charles Thomas Tester hustles to put food on the table, keep the roof over his father's head, from Harlem to Flushing Meadows to Red Hook. He knows what magic a suit can cast, the invisibility a guitar case can provide, and the curse written on his skin that attracts the eye of wealthy white folks and their cops. But when he delivers an occult tome to a reclusive sorceress in the heart of Queens, Tom opens a door to a deeper realm of magic, and earns the attention of things best left sleeping. A storm that might swallow the world is building in Brooklyn. Will Black Tom live to see it break?

Bracing and essential, a radical reframing of British Romanticism through the lens of Black experience – for fans of David Olusoga, Gretchen Gerzina, Saidiya Hartman and Emma Dabiri Wordsworth, Shelley, Byron, Keats – the Romantic poets are titans of English literature, taught and celebrated around the world. Their work is associated with sublime passions, violent stormscapes and a questing search for the inner self. It is rarely associated with the racial politics of the transatlantic slave economy. But these literary icons lived through a period when individual and collective resistance by Black people in Britain and her overseas colonies was making it increasingly difficult – and increasingly costly – to ignore their demands for freedom. A time when popular support for the abolition movement exploded across the country – and was met by a vehement, reactionary campaign from the establishment. A time when white supremacist ideologies were fomented to justify the abuse and exploitation of non-white 'races'. This cultural context is not immediately obvious in the canon of Romantic poetry. But that doesn’t mean it’s not there. The Trembling Hand turns an urgent critical gaze onto six major Romantic authors, examining how their lives and works were entangled with the racist realities of their era. Mathelinda Nabugodi pores over carefully preserved manuscripts, travels to the houses where these writers lived and died, examines the personal objects which survived a teacup, a baby rattle, a lock of hair. Amid this archive, she searches for traces of Black figures whose lives crossed paths with the great Romantics. And she grapples with the opposing forces of reverence and horror as her fascination with literary relics collides with feelings of sorrow and rage.

People move to New York looking for magic and nothing will convince them it isn't there. Charles Thomas Tester hustles to put food on the table, keep the roof over his father's head, from Harlem to Flushing Meadows to Red Hook. He knows what magic a suit can cast, the invisibility a guitar case can provide, and the curse written on his skin that attracts the eye of wealthy white folks and their cops. But when he delivers an occult tome to a reclusive sorceress in the heart of Queens, Tom opens a door to a deeper realm of magic, and earns the attention of things best left sleeping. A storm that might swallow the world is building in Brooklyn. Will Black Tom live to see it break?

This is the way the world ends... for the last time. The Moon will soon return. Whether this heralds the destruction of humankind or something worse will depend on two women. Essun has inherited the power of Alabaster Tenring. With it, she hopes to find her daughter Nassun and forge a world in which every orogene child can grow up safe. For Nassun, her mother's mastery of the Obelisk Gate comes too late. She has seen the evil of the world, and accepted what her mother will not admit: that sometimes what is corrupt cannot be cleansed, only destroyed. The remarkable conclusion to the post-apocalyptic and highly acclaimed trilogy that began with the multi-award-nominated The Fifth Season.

This is the way the world ends... for the last time. The Moon will soon return. Whether this heralds the destruction of humankind or something worse will depend on two women. Essun has inherited the power of Alabaster Tenring. With it, she hopes to find her daughter Nassun and forge a world in which every orogene child can grow up safe. For Nassun, her mother's mastery of the Obelisk Gate comes too late. She has seen the evil of the world, and accepted what her mother will not admit: that sometimes what is corrupt cannot be cleansed, only destroyed. The remarkable conclusion to the post-apocalyptic and highly acclaimed trilogy that began with the multi-award-nominated The Fifth Season.

An alchemist and his young nephew hunt down a legend in this profound and unsettling speculative Western, for fans of Karen Russell and Victor LaValle.Alone in a frontier town in the nineteenth-century Northwest, Gentle Montgomery is grieving his best friend. Liam was an alchemist, killed when he tried to capture a creature that shouldn’t a giant salamander that drives men mad. When Gentle’s teenage nephew Kitt arrives at his doorstep, the two set out together to track the monster down, so they can use its blood in an alchemical formula that will bring Liam back to life.It's a hard and haunted journey. The salamander produces surreal nightmares and waking dreams of a blighted, burning future. And Gentle and Kitt soon find themselves pursued by a bloodthirsty hunter, a sadistic judge, and a doomsday cult, all of whom have their own plans for the river monster. Armed with nothing but Liam’s alchemical notebooks, they must not only find the salamander but learn to understand it—and the terrifying visions it causes—before it’s too late. And as Gentle struggles to comprehend the creature, his lost friend, his nephew, and his fellow seekers, it becomes clear that the Great Work of the alchemists may pale in comparison to the small work of human connection.Sheldon Costa’s dark, vivid, and strangely hopeful debut novel is a supernatural adventure through the wilderness of friendship and the rotten heart of the early American empire.

From “one of our great artists of catastrophe” (Laura van den Berg) comes North Sun, or the Voyage of the Whaleship Esther—an allegory of extraction and a tale of adventure and endurance during the waning days of the American whaling industry. Setting out from New Bedford in 1878, the crew of the Esther is confident the sea will be in addition to cruising the Pacific for whale, they intend to hunt the teeming northern grounds before the ice closes. But as they sail to their final destination in the Chukchi Sea, where their captain Arnold Lovejoy has an urgent directive of his own to attend to, their encounters with the natural world become more brutal, harrowing, ghostly, and strange. With one foot firmly planted in the traditional sea-voyage narrative, and another in a blazing mythos of its own, this debut novel looks unsparingly at the cost of environmental exploitation and predation, and in doing so feverishly sings not only of the past, but to the present and future as well.