《昨日的世界》是奥地利作家斯特凡•茨威格创作的自传体文学作品,写于1939年至1941年间，是茨威格在临终前被迫流亡的日子里完成的。在茨威格离世以后，于1942年在斯德哥尔摩出版。
在这部作品里，茨威格把个人命运与时代融为一体，通过自己所经历的人与事，展示了他生活过的城市和国家的文化生活风貌，记录了从第一次世界大战前夜到第二次世界大战时动荡的欧洲社会，描述了他与一些世界闻名的诗人、作家、雕塑家、音乐家交往的情景，批露了世界文化名人鲜为人知的生活轶事，同时穿插了作者各种细腻的心迹。茨威格从出生的城市维也纳和自己的犹太家庭写起，一直写到1939年9月已满60岁的时候，时值第二次世界大战爆发，他认为，这是“我们这些六十岁人的时代彻底结束”。

暌違三年，吳明益最新小說
太古之初，人與動物說同樣的語言。
鳥鳴、遠方的星光、風掠過草跟海浪的聲音，與嬰兒的哭聲彼此啟發……
六個短篇，也是三個兩兩相關的故事
以六個近未來世界的故事，探討人、動物、自然、土地之間的關係，追索精神「演化」的軌跡。小說中共同的環境是臺灣的野地、臺灣的物種，許多角色是科學家、業餘科學家或冒險者，他們身上存有精神或肉體的痛楚，歷經滯留也嘗試出發，歷經迷失與清醒。這些故事兩兩相關，彼處的峰巒是此間的海溝。
共同事件是「雲端裂縫」
那把埋在雲深之處的鑰匙，將打開一道心之裂縫。
過去不再是已知，
但將來，又將以什麼樣的面貌前來？
六幅彩色手繪插畫，重現十八世紀科學繪圖風格
特製郵票式樣扉頁，增加收藏感
這部小說我把它取名為《苦雨之地》，用的是我很喜歡的一位美國自然作家瑪麗．奧斯汀（Mary Austin）的書名《The Land of Little Rain》。我借用奧斯汀書名的意象，譯成中文，名為「苦」雨之地。「苦」可以因為雨少，也可以因為雨多。
這本小說裡不少角色都是科學家、業餘科學家，或是冒險者，他們身上或存有精神或肉體的痛楚。小說的共同環境都是臺灣的野地，以及臺灣的物種，我並使用十八世紀科學繪圖的風格繪製插畫。
小說裡的共同事件是「雲端裂縫」。也就是在近未來的世界，所出現的一種病毒。它會破解中毒者的雲端硬碟，深入檔案，分析硬碟主人和其他人之間的關係，然後把這個雲端硬碟的「鑰匙」交給某個人。
〈黑夜、黑土與黑色的山〉是關於一位軟骨發育不全的蚯蚓科學家的故事，她童年時被收養到德國，後來她發現，她的養父曾在臺灣的奇萊山區獲救。
〈人如何學會語言〉是關於一個自閉症卻對鳥聲敏感的小孩，日後成為鳥聲科學家，在喪失聽力後發現聾人賞鳥的困難，決心鑽研一種形容鳥聲的手語的故事。
〈冰盾之森〉主人翁的情人是攀樹科學家，意外發生後她陷入憂鬱，求助於一種特殊的治療法，因此常進入一個南極探險的夢境裡。
〈雲在兩千米〉是妻子在無差別殺人事件後沮喪退休的律師，意外發現小說家妻子未寫成的小說檔案。因此開始一趟追尋雲豹、成為雲豹的旅程。
〈恆久受孕的雌性〉是四個不同領域的人，共同計畫駕駛一艘名為Zeuglodon研究船追尋滅絕藍鰭鮪的旅程。這個故事和我過去的長篇小說《複眼人》有關。
〈灰面鵟鷹、孟加拉虎以及七個少年〉則是七個少年在聯考前蹺課，意外發現永樂市場裡販賣野生動物，動念想買下一頭小老虎，主角卻買下一隻鷹的故事。
這些故事兩兩相關，彼處的峰巒是此間的海溝。

那個有著陽光般笑容的男人不是人，是一個擬態如人，實則人不人、鬼不鬼的怪物。
沒有人比心理學家更好騙！
完美的善，遮掩了惡的真實面貌
殺了「思考」之後，「記憶」便一直盯著他不放
英文老師蓮實聖司是問題高中裡的人氣教師，聰明、帥氣、樂觀開明、英語流利，不但學生為之瘋狂，也深受其他教職人員信賴，幫學校解決了許多棘手的師生問題。只不過，這一切都是他精心營造的形象。
真實的他卻是個天生感受力發育不全、完全透過理解與模仿贏得人心，不能體會別人的感受與痛苦，為排除異己即使殺人也不會猶豫的反社會人格者。只有一兩個學生嗅出不對勁、只有一位老師想挖出他的過去；隨著蓮實的往事越來越浮上檯面，學校裡的怪異現象也越來越多……
那個年紀輕輕的寡婦，
醒過來時事情已經結束——
蓮實發現自己正無意識地吹著口哨，習慣這種東西似乎真的很難改，
旋律是《三便士歌劇》的〈謀殺〉。
週刊文春「推理小說BEST 10」NO.1
「這本推理小說了不起！」NO.1
本屋大賞No.7
直木賞、吉川英治文學新人賞入圍
改編電影由伊藤英明主演、三池崇史執導

他年少、他敢言、他幽默、他堅持－－
他是《時代》雜誌2010全球年度百大影響人物
他的博客（部落格）每日20萬人次瀏覽，開站至今突破4億
他17歲出版第一本書，創下200萬冊銷售記錄
他是個戰績出色的職業賽車手
他是韓寒，是當今世界青春的代名詞。
《時代》雜誌：「韓寒是中國文壇壞小子。」
韓寒的文字，夠壞。
壞在道出平凡百姓的支吾難言，不假思索、真情實意；
壞在戳破道貌岸然者的虛情假意，一針見血、酣暢淋漓。
韓寒改變了文藝的腔調，
使其具有廣大的庶民性與高度的感染力，
口吻幽默、思路清晰、論述淺顯又犀利。
本書還原韓寒的發言、一字不刪，收錄八年來七十篇最具代表性文章：
◆ 青春韓寒
本該在心中的熱血，它塗在地上。──摘自〈青春〉
作為80後（1980年之後出生）的一位率性敢言的年輕人，韓寒保有真誠，娓娓道出疼惜同輩年輕人的心，大膽說出「不要把上一代與這一代混為一談」的言論。
「青春韓寒」選輯，收錄韓寒的價值觀與愛情觀，暢談自我的叛逆與期許。讓我們把酒言歡，共同品味未滿三十歲的無忌「寒」言。
◆ 創作韓寒
讓他們留在那年代吧。他們都只是那個人物輩出的年代裡的小才情。　－－摘自〈說徐志摩〉
國中時期即已在雜誌上發表文章，首部小說《三重門》暢銷至今已破兩百萬冊，主編雜誌《獨唱團》一個月內狂銷一百二十萬冊。
「創作韓寒」選輯，且看韓寒從考試寫作文一事談起，用銳利的筆鋒嬉笑怒罵那些僵化腐朽的教條思想，刺激年輕一代重新思考創作的本質並激發更多的可能。
◆ 公民韓寒
爺爺們，你們請盡興。　──2010年5月，博客貼文〈孩子們，你們掃了爺爺的興〉被刪之後的回應
「刪文」是韓寒的文章最常遭受的待遇。他犀利而詼諧的真知灼見直戳當局的敏感神經，不但讓爺爺們（政府高層）頭痛不已，更讓平民百姓逐漸萌生新的公民意識。
「公民韓寒」選輯，看韓寒自2008年之後，從庶民的觀點、出自平凡生活的體會，進而對中國社會與世界議題展開評論。
看萬千世事，韓寒這麼說：
● 「七天前有記者問我，你覺得這次北京奧運會會給中國帶來些什麼呢？我告訴他，很多混血兒。」
● 「人民需要的是被服務而不是被管理，而官員最需要的是被管理而不是被服務。」
● 對於世博，「如果我讚美他吧，估計我良心不安，如果我批評他吧，估計我寢食不安」。
● 「我覺得不是世博會會給中國帶來什麼，而是中國會給世博會帶來什麼。因為本來世博會並不是一個　　規模如此大的展會，隨著資訊流通便捷，世博會正在漸漸式微，是中國將世博會升格了。有點像某些在國內非常火的品牌，經過了宣傳，你穿在身上覺得牛逼的不行，奢華的不行，出國一打聽，原來是二線的。」
● 「有人擔憂，山寨文化普及以後，中國將徹底淪為一個山寨大國。我認為，這樣的擔憂是沒有必要的，因為我們就是一個山寨大國，對山寨下手就是一種過河拆橋……任何經濟文化政治的起步，都是從山寨開始的，忘記山寨就是忘本……可以說，沒有山寨就沒有新中國。山寨是歷史發展的必經過程，山寨可以建立新文化，但靠山寨做到有前途就比較困難……其實很好理解的，你的老婆就是壓寨夫人，你的二奶就是山寨夫人，你說怎麼辦。」
● 「我們可憐的中國作家，中國導演，已經被諾貝爾和奧斯卡逼傻了。我建議這兩個獎項特設給中國的獎。如是男藝術家，可給安慰獎，如果女藝術家，可給慰安獎……」

誰能掌控媒體，誰就掌控了國家。
「在拿下克里姆林宮前，你必須先拿下電視台。」──俄國政治家亞歷山大．亞可夫列夫
以媒體角度剖析近代俄羅斯政治轉型、歷史發展歷程
我們今日所見的俄羅斯面貌，乃是政治人物、媒體、財閥共謀「製造」的產物
★2016年歐威爾獎（Orwell Prize）得獎作品、《金融時報》年度最佳圖書
★《古拉格的歷史》作者安．艾普邦姆、《耶路撒冷三千年》作者賽門．蒙提費歐里深度推薦
★中研院文哲所副研究員陳相因專文導讀
【各界書評】
「亞凱迪．歐卓夫斯基是近十年來最具洞察力的駐莫斯科特派員，在《製造俄羅斯》中，他憑藉對所鍾愛國家的深刻了解，訴說其現代史上扣人心弦的悲劇故事。一本富原創性、發人深省且不可或缺的傑出著作。」──Ａ．Ｄ．米勒（A. D. Miller），前《經濟學人》莫斯科特派員
「俄羅斯出奇自由的媒體一度曾是改革的強力工具。亞凱迪．歐卓夫斯基以啟發人心的悲傷語調，描述除卻極少數媒體人外，其餘皆改變立場──蓄意而為、自私自利且以國家之名──轉而去創造真實的扭曲身影，並且形塑了今日的俄國。」──羅德里克．布瑞斯衛（Rodric Braithwaite）爵士，前英國駐俄羅斯與駐蘇聯大使
「歐卓夫斯基寫出俄國後蘇聯時期『反革命』的真正內幕故事，這是一本重要且適時出現的著作。」──安‧艾普邦姆（Anne Applebaum），《古拉格的歷史》作者
「不可或缺、適時且總是扣人心弦，亞凱迪．歐卓夫斯基的書解釋了今日俄羅斯的再造，從蘇聯解體直到普丁崛起這段時間裡，以莫斯科人的老練眼光細緻剖析權力、金錢和媒體的變化，並以天賦洋溢的敘事手法，寫出克里姆林宮謎團的真實紀事。」──賽門．蒙提費歐里（Simon Montefiore），《耶路撒冷三千年》作者
「歐卓夫斯基不僅研究從戈巴契夫到普丁之間的轉變，他個人的成長亦與之同時開展……一本引人入勝的論證著作。」──唐納德．雷菲爾德（Donald Rayfield），《文學評論》月刊
「歐卓夫斯基的敘述引人入勝，把許多人物刻劃得活靈活現，他們在現代歷史上扮演關鍵角色卻多半遭到遺忘……（作者）展示普丁的掌權何以不算是偶發異常。」──約翰．坎夫納（John Kampfner），《觀察家報》
「生動描述現代俄羅斯的演變……歐卓夫斯基揭示，戈巴契夫年代的自由夢想，如何被普丁時期的獨裁國族主義所取代。」──基甸．拉赫曼（Gideon Rachman），《金融時報》年度最佳圖書評語
【本書內容】
是誰製造了俄羅斯？作者亞凱迪．歐卓夫斯基認為，是媒體創造了俄羅斯，形塑外人所見的俄羅斯樣貌，其中也包括俄羅斯人所看見／或相信的俄羅斯面貌。
在本書中，作者藉著追溯過去二十五年以來的俄國歷史沿革、敘事和主流思想，盼能說明俄國歷史上的轉折點。不同於一般討論前蘇聯轉型到俄羅斯歷程的著作，重心可能會放在戈巴契夫、葉爾欽、普丁等重要政治人物身上，這本的焦點會是媒體工作人員，他們可能是主播、主持人、記者、編輯或政治評論家，各自懷著不同的政治立場，產製各類節目、廣播、報刊、雜誌、社論，宣傳不同的意識型態。當然，其中有部分媒體是國家機器的共謀，但也有一些媒體持批判當前政權的立場。但不管是哪一方，媒體都是操縱輿論的工具，餵養閱聽者產製後的資訊；影響力小的可能引發一場地區的示威遊行，影響力大的可能讓政權更迭，更甚而引發民族仇恨與戰爭。因此作者認為是這群媒體人「製造了後蘇聯時期的俄羅斯」，只有掌控媒體才能入主克里姆林宮。
透過這本書我們將可以理解俄羅斯從共產極權國家轉型到自由民主國家的改變歷程，以及其中媒體所扮演的關鍵角色。若我們回頭省思台灣三十年來的民主轉型，俄羅斯也足以做為相對照的參考點，值得細細思索、探求。

一座近未来世界的空中楼阁
一连串袭向仿生人的“谋杀”
华语推理新锐 政启若
SF×本格 推理力作
当第一块多米诺牌被推倒时
命运的走向就已经注定
------------------------------------------------
★内容介绍
在这个仿生人司空见惯的时代，多米诺大厦向世人提供着欢娱。它就像消除记忆的大门，如果有人来到这里，就会失去自我——毕竟仿生人本来就不存在“自我”，而来此享乐的人也会忘记自己的身份。
就在这座“乐园”之中，接连发生了不可思议的袭击事件。代号Zero的仿生人小初当起了侦探，在一次次调查取证途中，她不禁也开始思考，在人类的眼中，她有没有“心”呢？
大厦将倾，乐园消亡，少女又将去向何处……

A new creation by the author of Severance , the stories in Bliss Montage crash through our carefully built mirages

What happens when fantasy tears through the screen of the everyday to wake us up? Could that waking be our end?

In Bliss Montage , Ling Ma brings us eight wildly different tales of people making their way through the madness and reality of our collective delusions: love and loneliness, connection and possession, friendship, motherhood, the idea of home. From a woman who lives in a house with all of her ex-boyfriends, to a toxic friendship built around a drug that makes you invisible, to an ancient ritual that might heal you of anything if you bury yourself alive, these and other scenarios reveal that the outlandish and the everyday are shockingly, deceptively, heartbreakingly similar.

Poems of migration, womanhood, trauma, and resilience from the celebrated collaborator on Beyoncé's Lemonade and Black Is King , award-winning Somali British poet Warsan Shire.

Mama, I made it
out of your home,
alive, raised by the
voices in my head.

With her first full-length poetry collection, Warsan Shire introduces us to a young girl, who, in the absence of a nurturing guide, makes her own stumbling way towards womanhood. Drawing from her own life and the lives of loved ones, as well as pop culture and news headlines, Shire finds vivid, unique details in the experiences of refugees and immigrants, mothers and daughters, Black women, and teenage girls. In Shire's hands, lives spring into fullness. This is noisy life: full of music and weeping and surahs and sirens and birds. This is fragrant life: full of blood and perfume and shisha smoke and jasmine and incense. This is polychrome life: full of henna and moonlight and lipstick and turmeric and kohl.

The long-awaited collection from one of our most exciting contemporary poets, this book is a blessing, an incantatory celebration of resilience and survival. Each reader will come away changed.

From acclaimed poet Franny Choi comes a poetry collection for the ends of worlds--past, present, and future. Choi's third book features poems about historical and impending apocalypses, alongside musings on our responsibilities to each other and visions for our collective survival.

Many have called our time dystopian. But The World Keeps Ending, and the World Goes On reminds us that apocalypse has already come in myriad ways for marginalized peoples and calls us to imagine what will persist in the aftermaths.

With lyric and tonal dexterity, these poems spin backwards and forwards in time. They look into the collective psyche of our years in the pandemic and in the throes of anti-racist uprisings, while imagining other vectors, directions, and futures. Stories of survival collide across space and time--from Korean comfort women during World War II to children wandering a museum in the future. These poems explore narrative distances and queer linearity, investigating on microscopic scales before soaring towards the universal. Throughout, Choi grapples with where the individual fits within the strange landscapes of this apocalyptic world, with its violent and many-layered histories. In the process, she imagines what togetherness--between Black and Asian and other marginalized communities, between living organisms, between children of calamity and conquest--could look like. Bringing together Choi's signature speculative imagination with even greater musicality than her previous work, The World Keeps Ending, and the World Goes On ultimately charts new paths toward hope.

From Chloé Cooper Jones—Pulitzer Prize finalist, philosophy professor, Whiting Creative Nonfiction Grant recipient—a groundbreaking memoir about disability, motherhood, and a journey to far-flung places in search of a new way of seeing and being seen.
“I am in a bar in Brooklyn, listening to two men, my friends, discuss whether my life is worth living.”
So begins ChloéCooper Jones’s bold, revealing account of moving through the world in a body that looks different than most. Jones learned early on to factor “pain calculations” into every plan, every situation. Born with a rare congenital condition called sacral agenesis which affects both her stature and gait, her pain is physical. But there is also the pain of being judged and pitied for her appearance, of being dismissed as “less than.” The way she has been seen—or not seen—has informed her lens on the world her entire life. She resisted this reality by excelling academically and retreating to “the neutral room in her mind” until it passed. But after unexpectedly becoming a mother (in violation of unspoken social taboos about the disabled body), something in her shifts, and Jones sets off on a journey across the globe, reclaiming the spaces she’d been denied, and denied herself.
From the bars and domestic spaces of her life in Brooklyn to sculpture gardens in Rome; from film festivals in Utah to a Beyoncé concert in Milan; from a tennis tournament in California to the Killing Fields of Phnom Penh, Jones weaves memory, observation, experience, and aesthetic philosophy to probe the myths underlying our standards of beauty and desirability, and interrogates her own complicity in upholding those myths.
With its emotional depth, its prodigious, spiky intelligence, its passion and humor, Easy Beauty is the rare memoir that has the power to make you see the world, and your place in it, with new eyes.

A global movement guided by love.

Humans are a varied and divergent bunch with all manner of beliefs, morals, and bodies. Systems of oppression thrive off our inability to make peace with difference and injure the relationship we have with our own bodies.

The Body Is Not an Apology offers radical self-love as the balm to heal the wounds inflicted by these violent systems. World-renowned activist and poet Sonya Renee Taylor invites us to reconnect with the radical origins of our minds and bodies and celebrate our collective, enduring strength. As we awaken to our own indoctrinated body shame, we feel inspired to awaken others and to interrupt the systems that perpetuate body shame and oppression against all bodies. When we act from this truth on a global scale, we usher in the transformative opportunity of radical self-love, which is the opportunity for a more just, equitable, and compassionate world--for us all.

A heartbreaking and hilarious memoir by iCarly and Sam & Cat star Jennette McCurdy about her struggles as a former child actor—including eating disorders, addiction, and a complicated relationship with her overbearing mother—and how she retook control of her life.

Jennette McCurdy was six years old when she had her first acting audition. Her mother’s dream was for her only daughter to become a star, and Jennette would do anything to make her mother happy. So she went along with what Mom called “calorie restriction,” eating little and weighing herself five times a day. She endured extensive at-home makeovers while Mom chided, “Your eyelashes are invisible, okay? You think Dakota Fanning doesn’t tint hers?” She was even showered by Mom until age sixteen while sharing her diaries, email, and all her income.

In I’m Glad My Mom Died , Jennette recounts all this in unflinching detail—just as she chronicles what happens when the dream finally comes true. Cast in a new Nickelodeon series called iCarly , she is thrust into fame. Though Mom is ecstatic, emailing fan club moderators and getting on a first-name basis with the paparazzi (“Hi Gale!”), Jennette is riddled with anxiety, shame, and self-loathing, which manifest into eating disorders, addiction, and a series of unhealthy relationships. These issues only get worse when, soon after taking the lead in the iCarly spinoff Sam & Cat alongside Ariana Grande, her mother dies of cancer. Finally, after discovering therapy and quitting acting, Jennette embarks on recovery and decides for the first time in her life what she really wants.

Told with refreshing candor and dark humor, I’m Glad My Mom Died is an inspiring story of resilience, independence, and the joy of shampooing your own hair.

'It all starts with waking up... to what our bodies are expressing and our minds are suppressing'

Western countries invest billions in healthcare, yet mental illness and chronic diseases are on a seemingly unstoppable rise. Nearly 70% of Americans are now on prescription drugs. So what is 'normal' when it comes to health?

Over four decades of clinical experience, renowned physician and addiction expert Dr Gabor Maté has seen how health systems neglect the role that trauma exerts on our bodies and our minds. Medicine often fails to treat the whole person, ignoring how today's culture stresses our bodies, burdens our immune systems and undermines emotional balance.

Now, in his most ambitious and urgent book yet, Dr Maté connects the dots between our personal suffering and the pressures of modern-day living - with disease as a natural reflection of a life spent growing further and further apart from our true selves. But, with deep compassion, he also shows us a pathway to health and healing.

Filled with stories of people in the grip of illness or in the triumphant wake of recovery, this life-affirming book, co-written with his son Daniel, proves true health is possible - if we are willing to reconnect with each other and our authentic selves.

From the New Yorker staff writer Hua Hsu, a gripping memoir on friendship, grief, the search for self, and the solace that can be found through art.
In the eyes of 18-year-old Hua Hsu, the problem with Ken—with his passion for Dave Matthews, Abercrombie & Fitch, and his fraternity—is that he is exactly like everyone else. Ken, whose Japanese American family has been in the United States for generations, is mainstream; for Hua, the son of Taiwanese immigrants, who makes ’zines and haunts Bay Area record shops, Ken represents all that he defines himself in opposition to. The only thing Hua and Ken have in common is that, however they engage with it, American culture doesn’t seem to have a place for either of them.
But despite his first impressions, Hua and Ken become friends, a friendship built of late-night conversations over cigarettes, long drives along the California coast, and the textbook successes and humiliations of everyday college life. And then violently, senselessly, Ken is gone, killed in a carjacking, not even three years after the day they first meet.
Determined to hold on to all that was left of one of his closest friends—his memories—Hua turned to writing. Stay True is the book he’s been working on ever since. A coming-of-age story that details both the ordinary and extraordinary, Stay True is a bracing memoir about growing up, and about moving through the world in search of meaning and belonging.

From one of our boldest, most celebrated new literary voices, a novel about a young woman’s efforts to duck the ills of the world by embarking on an extended hibernation with the help of one of the worst psychiatrists in the annals of literature and the battery of medicines she prescribes.
Our narrator should be happy, shouldn’t she? She’s young, thin, pretty, a recent Columbia graduate, works an easy job at a hip art gallery, lives in an apartment on the Upper East Side of Manhattan paid for, like the rest of her needs, by her inheritance. But there is a dark and vacuous hole in her heart, and it isn’t just the loss of her parents, or the way her Wall Street boyfriend treats her, or her sadomasochistic relationship with her best friend, Reva. It’s the year 2000 in a city aglitter with wealth and possibility; what could be so terribly wrong?
is a powerful answer to that question. Through the story of a year spent under the influence of a truly mad combination of drugs designed to heal our heroine from her alienation from this world, Moshfegh shows us how reasonable, even necessary, alienation can be. Both tender and blackly funny, merciless and compassionate, it is a showcase for the gifts of one of our major writers working at the height of her powers.

A darkly funny domestic horror novel about a woman who must take drastic measures to save her husband and herself from the vengeful ghost of her mother-in-law.

When Ralph and Abby Lamb move in with Ralph’s mother, Laura, Abby hopes it’s just what she and her mother-in-law need to finally connect. After a traumatic childhood, Abby is desperate for a mother figure, especially now that she and Ralph are trying to become parents themselves. Abby just has so much love to give—to Ralph, to Laura, and to Mrs. Bondy, her favorite resident at the long-term care home where she works. But Laura isn’t interested in bonding with her daughter-in-law. She’s venomous and cruel, especially to Abby, and life with her is hellish.

When Laura takes her own life, her ghost haunts Abby and Ralph in very different ways: Ralph is plunged into depression, and Abby is terrorized by a force intent on destroying everything she loves. To make matters worse, Mrs. Bondy’s daughter is threatening to move Mrs. Bondy from the home, leaving Abby totally alone. With everything on the line, Abby comes up with a chilling plan that will allow her to keep Mrs. Bondy, rescue Ralph from his tortured mind, and break Laura's hold on the family for good. All it requires is a little ingenuity, a lot of determination, and a unique recipe for chicken à la king…

"As far back as I can recall, I have been in the bunker."

A young woman is kept in a cage underground with thirty-nine other females, guarded by armed men who never speak; her crimes unremembered... if indeed there were crimes.

The youngest of forty—a child with no name and no past—she survives for some purpose long forgotten in a world ravaged and wasted. In this reality where intimacy is forbidden—in the unrelenting sameness of the artificial days and nights—she knows nothing of books and time, of needs and feelings.

Then everything changes... and nothing changes.

A young woman who has never known men—a child who knows of no history before the bars and restraints—must now reinvent herself, piece by piece, in a place she has never been... and in the face of the most challenging and terrifying of unknowns: freedom.

Eric Hoffer Book Award Category Finalist

The poems of Might Kindred wonder can we belong to one another, and “can a people belong to a dreaming machine?” Conjuring mountains and bodies of water, queer and immigrant poetics, beloveds both human and animal, Mónica Gomery explores the intimately personal and the possibility of a collective voice. Here anthems are sung and fall apart midsong. The speaker exchanges letters with her ancestors, is visited by a shadow sister, and interrogates what it means to make a home as a first-generation American.

Winner of the Raz/Shumaker Prairie Schooner Book Prize in Poetry, the poems in Might Kindred are rooted in the body and its cousins, seeking the possibility of kinship, “in case we might kindness, might ardor together.” Belonging and unbelonging are claimed as part of the same complicated whole, and Gomery’s intersections reach for something divine at the center.

◆编辑推荐：
★二〇二一年国际布克奖、美国国家图书奖短名单作品！
★入选二〇二一年度《纽约时报书评周刊》十大好书！
★入选奥巴马二〇二一年夏季阅读书单！
★《纽约客》《华尔街日报》《出版人周刊》《卫报》等推荐作品！
★ 科学与道德、天才与疯狂之间的界限究竟在哪里？
★ 打破真实与虚构的边界，创造出一种迷幻而冷峻的叙事风格。
◆我很痛苦，又感到很无助，眼睁睁看着我的时间观念、我坚定的决心、我的责任感和分寸感都被一并摧毁！ 这美妙的地狱，除了你们，还能归功于谁呢？请您告诉我，所有这些疯狂是从何时开始的？我们从什么时候起就不再理解这个世界了？
——《当我们不再理解世界》
◆内容简介：
智利当代作家本哈明·拉巴图特的代表作，收录了五则以真实人物为原型的短篇小说，小说文本模糊了历史、回忆录、散文和小说的边界，创作出一种独特的叙事风格。全书主要讲述了“毒气战”的发明者弗里茨·哈伯、“黑洞理论”的提出者卡尔·史瓦西、得了肺结核的埃尔温·薛定谔以及天才物理学家沃纳·海森堡等一大批科学巨匠，是如何像普罗米修斯一样为人类取火的。
◆媒体推荐：
拉巴图特将哥特式小说的光芒投射到了二十世纪的科学上，在五个自由而浮动的小插曲中，讲述了知识与破坏、光辉与疯狂的血缘关系……
——《纽约时报书评周刊》
这本书与温弗里德·塞巴尔德或奥尔加·托儿卡丘克的作品有着家族关系：一系列叙述歪曲传记，但也冒险进入想象领域。这本书里的故事相互嵌套，它们与现实的联系点几乎不可能完全确定。
——《纽约客》
黑暗而耀眼！拉巴图特展示了恐怖与美丽、拯救生命与毁灭生命之间难以割断的联系。这本书——尽管博学而令人难以忘怀——顽固地坚持将科学进步的奇迹与历史的暴行联系起来。
——《华尔街日报》
拉巴图特提供了一种修饰的、异端的、彻底引人入胜的描述，讲述了引发二十世纪一些最伟大科学发现的个性和疯狂的创造性。作品的主题是人类探索的全部动力和其中的危险。
——《出版人周刊》
拉巴图特写了一部反乌托邦非虚构小说，背景不是未来，而是现在。
——《卫报》

《夜的命名术：皮扎尼克诗合集》翻译自西班牙语原版《皮扎尼克诗全集》，收录了皮扎尼克生前以“阿莱杭德娜•皮扎尼克”署名结集出版的全部诗作，以其六本诗歌单行本为分辑之界：《最后的天真》（1956年）、《失败的冒险》（1958年）、《狄安娜之树》（1962年）、《工作与夜晚》（1965年）、《取出疯石》（1968年）和《音乐地狱》（1971年）；另有辑七从原书附录所列生前未结集出版的诗作中挑选了诗人生命最后三年的部分作品。这是汉语语境里首次完整译介这位西语世界最富传奇魅力的女性诗人之一。同时，这部涵盖皮扎尼克一生作品的诗合集也渴望逾越“被诅咒的自杀诗人”神话，展现出其中饱含的艰巨劳作：她的诗歌是一座用智慧与耐心建筑的高楼，以大量阅读造就了坚定批判、跳脱传统的笔触与目光。
皮扎尼克的人生是一个热切的、被诗歌点燃的故事。终其一生，她不断撞击着那堵名叫“诗歌”的墙，在她几乎全部的作品中都饱含着一种提纯、精炼、不断向中心靠近的意愿和努力。自创作生涯伊始就围绕内心阴影写诗的她以无可否认亦无可比拟的生命烈度燃烧出女武神的声音，写出“准确得恐怖”的诗歌。在文学和生命之间，她选择了前者。到最后，这场旷日持久的缠斗，是她自己放弃了拯救自己，不惜一切代价寻找诗歌用词语命名不可言说之物的本质。她全部的努力在于把诗歌视为存在的唯一理由。她想成为一位完全的、绝对的诗人，毫无裂缝与伤口的诗人。某种程度上，她得到了她想要的完全，而《夜的命名术：皮扎尼克诗合集》旨在呈现这一完全。