Viewing an apartment normally doesn’t turn into a life-or-death situation, but this particular open house becomes just that when a failed bank robber bursts in and takes everyone in the apartment hostage. As the pressure mounts, the eight strangers slowly begin opening up to one another and reveal long-hidden truths.
First is Zara, a wealthy bank director who has been too busy to care about anyone else until tragedy changed her life. Now, she’s obsessed with visiting open houses to see how ordinary people live—and, perhaps, to set an old wrong to right. Then there’s Roger and Anna-Lena, an Ikea-addicted retired couple who are on a never-ending hunt for fixer-uppers to hide the fact that they don’t know how to fix their own failing marriage. Julia and Ro are a young lesbian couple and soon-to-be parents who are nervous about their chances for a successful life together since they can’t agree on anything. And there’s Estelle, an eighty-year-old woman who has lived long enough to be unimpressed by a masked bank robber waving a gun in her face. And despite the story she tells them all, Estelle hasn’t really come to the apartment to view it for her daughter, and her husband really isn’t outside parking the car.
As police surround the premises and television channels broadcast the hostage situation live, the tension mounts and even deeper secrets are slowly revealed. Before long, the robber must decide which is the more terrifying prospect: going out to face the police, or staying in the apartment with this group of impossible people.

狐狸不属于野兽，不属于我们人类，也不属于神灵。

她是一个永恒的偷渡者，一个在世界之间穿梭自如的移民，被抓到逃票时，就会用尾巴玩球，表演她廉价的小把戏，目光极为短浅地将观众转瞬即逝的赞叹当成了爱。那是她的荣耀时刻。

其他的一切都是恐惧的历史：逃避猎人的子弹、不停狂吠的猎犬 、迫害、殴 打、舔舐伤口、羞辱、孤独和廉价的安慰——一串鸡骨头做的手摇铃。

狐狸是作家的图腾。

拉美文豪加莱亚诺之获奖代表作
了解其独异文学风格的最佳入口
在拉美文学星空上，爱德华多·加莱亚诺是光芒独异的星辰，始终向下的立场，对于被遮蔽之历史、被绑架之记忆的执着探求，揭示真相的不遗余力，少即是多的语言，毫不拘泥的跨界笔法，都是加莱亚诺异乎他人的风格标志。《爱与战争的日日夜夜》则是他成熟时期文学风格的奠基之作。
曾获“美洲之家”文学大奖的《爱与战争的日日夜夜》写于流亡期间，作者游走于阿根廷、厄瓜多尔等国，从拉美各地动荡的社会中寻找和提炼普通百姓的日常生活原型，以132段杂糅新闻报道、文学速写、旅行笔记与民间故事的短篇文字，记录并重新发现微观的个人历史。

The focus of this edition is not on the nostalgic appeal of SCUM. Rather, in a characteristically brilliant and erudite introduction, renowned scholar Avita Ronell reconsiders Solanas's infamous text in light of the social milieu in which it was written, and reinterprets its status as a cult classic. Ronell writes, "Maybe the Solanas tract was payback: it was clocked to strike the time of response to all shameless woman-hating manifestos and their counterparts, the universalizers." She conjures Derrida's "The Ends of Man" (written in the same year), Judith Butler's Excitable Speech, Nietzsche's Ubermensch, and the notorious feminist icons from Medusa, Medea, and Antigone, to Lizzie Borden, Lorenna Bobbitt and Aileen Wournos, illuminating the evocative exuberance of Solana's dark tract. "IsSCUM ever marches, it will be over the President's stupid, sickening face; if SCUM ever strikes, it will be in the dark with a six-inch blade..." - Valerie Solanas "Sometimes you have to scream to be heard." - Avital Ronell

An exploration of gender and desire from our most exciting new public intellectual
“Everyone is female, and everyone hates it.”
Females is Andrea Long Chu’s genre-defying investigation into sex and lies, desperate artists and reckless politics, the smothering embrace of gender and the punishing force of desire.
Drawing inspiration from a forgotten play by Valerie Solanas—the woman who wrote the SCUM Manifesto and shot Andy Warhol—Chu aims her searing wit and surgical intuition at targets ranging from performance art to psychoanalysis, incels to porn. She even has a few barbs reserved for feminists like herself. Each step of the way, she defends the indefensible claim that femaleness is less a biological state and more a fatal existential condition that afflicts the entire human race— men, women, and everyone else. Or maybe she’s just projecting.
A thrilling new voice who has been credited with launching the “second wave” of trans studies, Chu shows readers how to write for your life, baring her innermost self with a morbid sense of humor and a mordant kind of hope.

"Ursula K. Le Guin's Earthsea novels are some of the most acclaimed and awarded works in literature--they have received prestigious accolades such as the National Book Award, a Newbery Honor, the Nebula Award, and many more honors, commemorating their enduring place in the hearts and minds of readers and the literary world alike. Now for the first time ever, they're all together in one volume--including the early short stories, Le Guin's "Earthsea Revisioned" Oxford lecture, and new Earthsea stories, never before printed. With a new introduction by Le Guin herself, this essential edition will also include over fifty illustrations by renowned artist Charles Vess, specially commissioned and selected by Le Guin, to bring her refined vision of Earthsea and its people to life in a totally new way"--Provided by publisher.

The United States is the richest country on earth, yet has more poverty than any other advanced democracy. One in seven Americans live below the poverty line, a line which hasn't shifted over the last fifty years, despite the efforts of successive governments and extensive relief programs. Why is there so much scarcity in this land of dollars?
In Poverty, by America, acclaimed sociologist Matthew Desmond examines the nature of American poverty today and the stories we tell ourselves about it. Spanning racism, social isolation, mass incarceration, the housing crisis, domestic violence, crack and opioid epidemics, welfare cuts and more, Desmond argues that poverty does not result from a lack of resources or good policy ideas. We already know how to eliminate it. The hard part is getting more of us to care.
To do so, we need a new story. As things stand, liberals explain poverty through insurmountable structural issues, whereas conservatives highlight personal failings and poor life choices. Both analyses abdicate responsibility, and ignore the reality that the advantages of the rich only come at the expense of the poor. It is time better-paid citizens put themselves back in the narrative, recognizing that the depth and expanse of poverty in any nation reflects our failure to look out for one another. Poverty must ultimately be met by community: all this suffering and want is our doing, and we can undo it.

With the coruscating gaze that informed The Sympathizer, in The Refugees Viet Thanh Nguyen gives voice to lives led between two worlds, the adopted homeland and the country of birth. From a young Vietnamese refugee who suffers profound culture shock when he comes to live with two gay men in San Francisco, to a woman whose husband is suffering from dementia and starts to confuse her for a former lover, to a girl living in Ho Chi Minh City whose older half-sister comes back from America having seemingly accomplished everything she never will, the stories are a captivating testament to the dreams and hardships of immigration. The second piece of fiction by a major new voice in American letters, The Refugees is a beautifully written and sharply observed book about the aspirations of those who leave one country for another, and the relationships and desires for self-fulfillment that define our lives.

Longlisted for the 2023 Andrew Carnegie Medals for Excellence in Fiction. A New York Times Book Review Editors' Choice.

A magnificent, beguiling tale winding from the postwar rural provinces to Paris, from an English boarding school, to the quiet Pennsylvania home where a woman can live without her past, The Book of Goose is a story of disturbing intimacy and obsession, of exploitation and strength of will, by the celebrated author Yiyun Li.

Fabienne is dead. Her childhood best friend, Agnès, receives the news in America, far from the French countryside where the two girls were raised—the place that Fabienne helped Agnès escape ten years ago. Now, Agnès is free to tell her story.

As children in a war-ravaged, backwater town, they’d built a private world, invisible to everyone but themselves—until Fabienne hatched the plan that would change everything, launching Agnès on an epic trajectory through fame, fortune, and terrible loss.

SISTER OUTSIDER presents essential writings of black poet and feminist writer Audre Lorde, an influential voice in 20th century literature. In this varied collection of essays, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. Her prose is incisive, unflinching, and lyrical, offering a message of struggle but also of hope?one that still resonates with us after more than 20 years. This commemorative edition is, in Lorde's own words, a call to ?never close our eyes to the terror, to the chaos which is Black which is creative which is female which is dark which is rejected which is messy which is. . . .?

白先勇唯一的一部长篇小说《孽子》，以同性恋为题材，全书共分为四章，依次是“放逐”、“在我们的王国里”、“安乐乡”、“那些青春鸟的行旅”，描写了上个世纪六七十年代生活在台北的一群为家庭所弃、为社会所遗的“孽子”。白先勇题记：“写给那一群，在最深最深的黑夜里，独自彷徨街头，无所依归的孩子们。”其中父子冲突的主题，亦令人印象深刻。

林棹的这部小说是我这些年读到的中文小说里尤为特殊的一部。她有点恍惚的叙述方式和她描写的茂密的内容甚至具有一种互文关系，气候、植物、气温这些都因为人物的行为和感受而具有一种官能性。这种相异于传统的常规的文学叙事的表现，这种异质性的力量，这种放任自己失常的勇气是值得珍视的。 ——孙甘露
林棹的小说值得推荐给阅读文学作品的年轻人。读者不必被她的语言狂欢的迷雾所困扰，《流溪》的写作就像是作者的一场又一场的内观，作者邀请我们进入她内在的丛林，她的写作呈现了诸多层面的现实——用的是迷人的当代汉语，尽管语言一次又一次害了我们。——棉棉
这是一份疑点重重的独白：很难说清叙述者是天真少女、狂人、骗子，抑或三者皆是。她周旋在浪荡的情人、破碎的母亲、暴戾的父亲之间，用泡沫和幻梦高筑起可疑的前半生，最终坠向不可挽回的结局。
这部处女作呈现细密画质地，携带着亚热带岭南独有的滋味、风景与记忆，讲述成长的歧途和可能的代价，纪念那些被随意折断与腐败在地的微弱者，和他们有过的爱与生活。

This is a love story and, like all Winterson's novels, a philosophical meditation, this time on the body: as the repository for our emotions and souls. The object is a married woman, Louise, and the narrator is her lover, gender undeclared. The affair intensifies beyond anything either of the lovers has ever known or hoped for. And as they dissect their passion and longing, Jeanette Winterson traces the topography of desire.

1940年代的纽约，有一群因德国纳粹迫害而逃离欧洲的人。他们侥幸躲过追捕，途径流亡者的“苦路”，历经种种磨难，九死一生，来到“应许之地”美国开始新的生活。但恐惧的阴影挥之不去，曾经对未来的憧憬又仿佛是徒劳的希冀。
主人公路德维希·佐默是德国人，父亲因纳粹的政治迫害而死，他也被迫在欧洲流亡多年。佐默曾在巴黎跟着一个犹太古董商做学徒，古董商去世后，他抛弃自己原先的身份，继承了古董商的护照，后乘船抵达纽约。
和许多流亡者一样，佐默努力重新开始。他经人介绍入住了一家聚集各国流亡者的旅馆，凭借当初在古董商身边和藏身于博物馆时学到的知识在一家古玩店找到工作，与时装模特玛丽亚·菲奥拉相恋……但对于父亲遇害的记忆太深刻，逃亡路上的恐惧感变成了一种本能反应，要融入新的生活并不容易。失根的佐默在这繁华的都市中不知该何去何从……

1942年，葡萄牙里斯本聚集了许多等待前往美国的流亡者。一天深夜，两个素不相识的人在码头相遇。一人因没有船票而徘徊，另一人愿意送出自己的两张船票，条件是对方要听他倾诉至天明，故事就此展开。
送出船票的是德国人约瑟夫·施瓦茨，他因反对纳粹政权，被他做盖世太保的妻弟告密，关进集中营，后逃出德国，却冒险回国探望妻子海伦。海伦决定和约瑟夫一同离开德国。他们辗转瑞士、法国、西班牙，经过数次分离与重聚，逃过种种追捕与监禁，终于到达了里斯本，却在最后关头不能登船去往“应许之地”了……约瑟夫和海伦的逃亡之路是一首“由恐怖、喜剧、逃跑、官僚政治、绝望和爱情组成的史诗”。

A breathtakingly inventive new novel from the Man Booker-shortlisted and Baileys Prize-winning author of How to be both
Fusing Keatsian mists and mellow fruitfulness with the vitality, the immediacy and the colour-hit of Pop Art - via a bit of very contemporary skulduggery and skull-diggery - Autumn is a witty excavation of the present by the past. The novel is a stripped-branches take on popular culture, and a meditation, in a world growing ever more bordered and exclusive, on what richness and worth are, what harvest means.
Autumn is the first installment in Ali Smith's novel quartet Seasonal: four standalone books, separate yet interconnected and cyclical (as the seasons are), exploring what time is, how we experience it, and the recurring markers in the shapes our lives take and in our ways with narrative.
From the imagination of the peerless Ali Smith comes a shape-shifting series, wide-ranging in timescale and light-footed through histories, and a story about ageing and time and love and stories themselves.

Words are important to Gretel, always have been. As a child, she lived on a canal boat with her mother, and together they invented a language that was just their own. She hasn’t seen her mother since the age of sixteen, though – almost a lifetime ago – and those memories have faded. Now Gretel works as a lexicographer, updating dictionary entries, which suits her solitary nature.
A phone call from the hospital interrupts Gretel’s isolation and throws up questions from long ago. She begins to remember the private vocabulary of her childhood. She remembers other things, too: the wild years spent on the river; the strange, lonely boy who came to stay on the boat one winter; and the creature in the water – a canal thief? – swimming upstream, getting ever closer. In the end there will be nothing for Gretel to do but go back.
Daisy Johnson’s debut novel turns classical myth on its head and takes readers to a modern-day England unfamiliar to most. As daring as it is moving, Everything Under is a story of family and identity, of fate, language, love and belonging that leaves you unsettled and unstrung.

这真是一部让人期待已久的南方叙事，一座早该由广东人吐露成型的海市蜃楼。我需要再三重读，好看清林棹如何放荡她那肆无忌惮的想象力，从珠江江底泥层疍艇的尸身，打捞出十九世纪海洋帝国那水彩般的残影。
——梁文道
幻象中蕴含着自然饱满的躯体，方言里埋藏着民族丰盈的神识，以缜密的虚构技艺，林棹描画出一个特殊时空的异样风姿。
——黄德海
一八二〇年代，身世成谜的苏格兰博物学者H游历世界，登陆广州，在当地芦竹林中遭遇一只雌性巨蛙，成功将其诱捕，豢养在澳门好景花园。由此，奇异的笼禽困兽、寰宇新知并四海众生相，悲喜相侵地进入蛙的生命。鸦片战争前夕，H破产自杀，好景花园如大梦般消失，而蛙也将经历生与死的考验。
这个根植于岭南风土的魔幻故事，从珠江水上人家，到广州十三行，在澳门奇珍园略作停留，又探向万物有灵的江河重洋。中西在此相逢，大大小小的乌托邦相互碰撞，是一次穿越近代世界的迷人宴游。