WINNER OF THE 2024 INTERNATIONAL BOOKER PRIZE LONGLISTED FOR THE 2023 NATIONAL BOOK AWARD FOR TRANSLATED LITERATURE Jenny Erpenbeck (the author of Go, Went, Gone and Visitation) is an epic storyteller and arguably the most powerful voice in contemporary German literature. Erpenbeck's new novel Kairos-an unforgettably compelling masterpiece-tells the story of the romance begun in East Berlin at the end of the 1980s when nineteen-year-old Katharina meets by chance a married writer in his fifties named Hans. Their passionate yet difficult long-running affair takes place against the background of the declining GDR, through the upheavals wrought by its dissolution in 1989 and then what comes after. In her unmistakable style and with enormous sweep, Erpenbeck describes the path of two lovers, as Katharina grows up and tries to come to terms with a not always ideal romance, even as a whole world with its own ideology disappears. As the Times Literary Supplement writes: "The weight of history, the particular experiences of East and West, and the ways in which cultural and subjective memory shape individual identity has always been present in Erpenbeck's work. She knows that no one is all bad, no state all rotten, and she masterfully captures the existential bewilderment of this period between states and ideologies." In the opinion of her superbly gifted translator Michael Hofmann, Kairos is the great post-Unification novel. And, as The New Republic has commented on his work as a translator: "Hofmann's translation is invaluable-it achieves what translations are supposedly unable to do: it is at once 'loyal' and 'beautiful.'"

Nearly a century after his wrenching death, the Portuguese poet Fernando Pessoa (1888-1935) remains one of our most enigmatic writers. Believing he could do "more in dreams than Napoleon," yet haunted by the specter of hereditary madness, Pessoa invented dozens of alter egos, or "heteronyms," under whose names he wrote in Portuguese, English, and French. Unsurprisingly, this "most multifarious of writers" (Guardian) has long eluded a definitive biographer-but in renowned translator and Pessoa scholar Richard Zenith, he has met his match. Relatively unknown in his lifetime, Pessoa was all but destined for literary oblivion when the arc of his afterlife bent, suddenly and improbably, toward greatness, with the discovery of some 25,000 unpublished papers left in a large, wooden trunk. Drawing on this vast archive of sources as well as on unpublished family letters, and skillfully setting the poet's life against the nationalist currents of twentieth-century European history, Zenith at last reveals the true depths of Pessoa's teeming imagination and literary genius. Much as Nobel laureate José Saramago brought a single heteronym to life in The Year of the Death of Ricardo Reis, Zenith traces the backstories of virtually all of Pessoa's imagined personalities, demonstrating how they were projections, spin-offs, or metamorphoses of Pessoa himself. A solitary man who had only one, ultimately platonic love affair, Pessoa used his and his heteronyms' writings to explore questions of sexuality, to obsessively search after spiritual truth, and to try to chart a way forward for a benighted and politically agitated Portugal. Although he preferred the world of his mind, Pessoa was nonetheless a man of the places he inhabited, including not only Lisbon but also turn-of-the-century Durban, South Africa, where he spent nine years as a child. Zenith re-creates the drama of Pessoa's adolescence-when the first heteronyms emerged-and his bumbling attempts to survive as a translator and publisher. Zenith introduces us, too, to Pessoa's bohemian circle of friends, and to Ophelia Quieroz, with whom he exchanged numerous love letters. Pessoa reveals in equal force the poet's unwavering commitment to defending homosexual writers whose books had been banned, as well as his courageous opposition to Salazar, the Portuguese dictator, toward the end of his life. In stunning, magisterial prose, Zenith contextualizes Pessoa's posthumous literary achievements-especially his most renowned work, The Book of Disquiet. A modern literary masterpiece, Pessoa simultaneously immortalizes the life of a literary maestro and confirms the enduring power of Pessoa's work to speak prophetically to the disconnectedness of our modern world.

The body is a source of pleasure and of pain, at once hopelessly vulnerable and radiant with power. In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement. Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of McCarthy-era America, Laing grapples with some of the most significant and complicated figures of the past century-among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Despite its many burdens, the body remains a source of power, even in an era as technologized and automated as our own. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.

The text here is based on Hershel Parker and Harrison Hayford's 1967 edition, footnoted to include biographical discoveries. Reviews, letters by Melville and belated praise is collected, and a wealth of new biographical material has been added, while new research is highlighted. Parker also explores what writing Moby-Dick cost Melville and his family.

Nearly a century after his wrenching death, the Portuguese poet Fernando Pessoa (1888-1935) remains one of our most enigmatic writers. Believing he could do "more in dreams than Napoleon," yet haunted by the specter of hereditary madness, Pessoa invented dozens of alter egos, or "heteronyms," under whose names he wrote in Portuguese, English, and French. Unsurprisingly, this "most multifarious of writers" (Guardian) has long eluded a definitive biographer-but in renowned translator and Pessoa scholar Richard Zenith, he has met his match. Relatively unknown in his lifetime, Pessoa was all but destined for literary oblivion when the arc of his afterlife bent, suddenly and improbably, toward greatness, with the discovery of some 25,000 unpublished papers left in a large, wooden trunk. Drawing on this vast archive of sources as well as on unpublished family letters, and skillfully setting the poet's life against the nationalist currents of twentieth-century European history, Zenith at last reveals the true depths of Pessoa's teeming imagination and literary genius. Much as Nobel laureate José Saramago brought a single heteronym to life in The Year of the Death of Ricardo Reis, Zenith traces the backstories of virtually all of Pessoa's imagined personalities, demonstrating how they were projections, spin-offs, or metamorphoses of Pessoa himself. A solitary man who had only one, ultimately platonic love affair, Pessoa used his and his heteronyms' writings to explore questions of sexuality, to obsessively search after spiritual truth, and to try to chart a way forward for a benighted and politically agitated Portugal. Although he preferred the world of his mind, Pessoa was nonetheless a man of the places he inhabited, including not only Lisbon but also turn-of-the-century Durban, South Africa, where he spent nine years as a child. Zenith re-creates the drama of Pessoa's adolescence-when the first heteronyms emerged-and his bumbling attempts to survive as a translator and publisher. Zenith introduces us, too, to Pessoa's bohemian circle of friends, and to Ophelia Quieroz, with whom he exchanged numerous love letters. Pessoa reveals in equal force the poet's unwavering commitment to defending homosexual writers whose books had been banned, as well as his courageous opposition to Salazar, the Portuguese dictator, toward the end of his life. In stunning, magisterial prose, Zenith contextualizes Pessoa's posthumous literary achievements-especially his most renowned work, The Book of Disquiet. A modern literary masterpiece, Pessoa simultaneously immortalizes the life of a literary maestro and confirms the enduring power of Pessoa's work to speak prophetically to the disconnectedness of our modern world.

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Josef Mengele has come to symbolise both the evil of the Nazi regime and the failure of justice. Drawing on new scholarship and sources, David G. Marwell examines Mengele's life, chronicling his university studies, which led to two PhDs; his wartime service, in combat and at Auschwitz, where his "selections" determined the fate of countless innocents and his "scientific" pursuits resulted in the traumatisation and death of thousands more; and his post-war refuge in Germany and South America. Mengele describes the international search in 1985, which ended in a cemetery in Sao Paulo and the forensic investigation that produced overwhelming evidence that Mengele had died-but failed to convince those who, arguably, most wanted him dead. This is a story of science without limits, escape without freedom and resolution without justice.

A seminal work that combines ground-breaking philosophy with searing flights of memoir, Afropessimism presents the tenets of an increasingly influential intellectual movement that theorises blackness through the lens of perpetual slavery. Rather than interpreting slavery through a Marxist framework of class oppression, Frank B. Wilderson III, demonstrates that the social construct of slavery is hardly a relic of the past but an almost necessary force in our civilisation that flourishes today, and that Black struggles cannot be conflated with the experiences of any other oppressed group. In mellifluous prose, he juxtaposes his seemingly idyllic Minneapolis upbringing with the harshness later encountered, whether in Berkeley or Soweto. Afropessimism reverberates with wisdom and painful clarity in the fractured world we inhabit.

Marvel Entertainment was a moribund toymaker not even twenty years ago. Today, Marvel Studios is the dominant player both in Hollywood and in global pop culture. How did an upstart studio conquer the world? In MCU, beloved culture writers Joanna Robinson, Dave Gonzales, and Gavin Edwards draw on more than a hundred interviews with actors, producers, directors, and writers to present the definitive chronicle of Marvel Studios and its sole, ongoing production, the Marvel Cinematic Universe. For all its outward success, the studio was forged by near-constant conflict, from the contentious hiring of Robert Downey Jr. for its 2008 debut, Iron Man, all the way up to the disappointment of Ant-Man and the Wasp: Quantumania and shocking departures of multiple Marvel executives in 2023. Throughout, the authors demonstrate that the original genius of Marvel was its resurrection and modification of Hollywood's old studio system. But will it survive its own spectacular achievements? Dishy and authoritative, MCU is the first book to tell the Marvel Studios story in full-and an essential, effervescent account of American mass culture.

The text here is based on Hershel Parker and Harrison Hayford's 1967 edition, footnoted to include biographical discoveries. Reviews, letters by Melville and belated praise is collected, and a wealth of new biographical material has been added, while new research is highlighted. Parker also explores what writing Moby-Dick cost Melville and his family.

Hailed as "the great nature writer of this generation" (Wall Street Journal), Robert Macfarlane is the celebrated author of books about the intersections of the human and the natural realms. In Underland, he delivers his masterpiece: an epic exploration of the Earth's underworlds as they exist in myth, literature, memory, and the land itself. In this highly anticipated sequel to his international bestseller The Old Ways, Macfarlane takes us on an extraordinary journey into our relationship with darkness, burial, and what lies beneath the surface of both place and mind. Traveling through "deep time"-the dizzying expanses of geologic time that stretch away from the present-he moves from the birth of the universe to a post-human future, from the prehistoric art of Norwegian sea caves to the blue depths of the Greenland ice cap, from Bronze Age funeral chambers to the catacomb labyrinth below Paris, and from the underground fungal networks through which trees communicate to a deep-sunk "hiding place" where nuclear waste will be stored for 100,000 years to come. Woven through Macfarlane's own travels are the unforgettable stories of descents into the underland made across history by explorers, artists, cavers, divers, mourners, dreamers, and murderers, all of whom have been drawn for different reasons to seek what Cormac McCarthy calls "the awful darkness within the world." Global in its geography and written with great lyricism and power, Underland speaks powerfully to our present moment. Taking a deep-time view of our planet, Macfarlane here asks a vital and unsettling question: "Are we being good ancestors to the future Earth?" Underland marks a new turn in Macfarlane's long-term mapping of the relations of landscape and the human heart. From its remarkable opening pages to its deeply moving conclusion, it is a journey into wonder, loss, fear, and hope. At once ancient and urgent, this is a book that will change the way you see the world.

Release: 00.00.0000, Format: Vinyl Maxi, Neuware, Inhalt: 1 Discs, Label/ Hersteller: Norton

Norton, Pferdebeinschutz, (M)

"America's funniest science writer" (Washington Post) takes us down the hatch on an unforgettable tour. The alimentary canal is classic Mary Roach terrain: the questions explored in Gulp are as taboo, in their way, as the cadavers in Stiff and every bit as surreal as the universe of zero gravity explored in Packing for Mars. Why is crunchy food so appealing? Why is it so hard to find words for flavors and smells? Why doesn't the stomach digest itself? How much can you eat before your stomach bursts? Can constipation kill you? Did it kill Elvis? In Gulp we meet scientists who tackle the questions no one else thinks of-or has the courage to ask. We go on location to a pet-food taste-test lab, a fecal transplant, and into a live stomach to observe the fate of a meal. With Roach at our side, we travel the world, meeting murderers and mad scientists, Eskimos and exorcists (who have occasionally administered holy water rectally), rabbis and terrorists-who, it turns out, for practical reasons do not conceal bombs in their digestive tracts. Like all of Roach's books, Gulp is as much about human beings as it is about human bodies.

Delineates the multifarious culture that is Lebanon. Stripping away the complex stigmas of its politics, this book brings each component into focus, explaining the conflicts between Sunni and Shia, Maronites and Druze, Christian and Muslim, Israel and the Palestinian Liberation Organization, Lebanon and Palestine, and Syria and Lebanon.

A seminal work that combines ground-breaking philosophy with searing flights of memoir, Afropessimism presents the tenets of an increasingly influential intellectual movement that theorises blackness through the lens of perpetual slavery. Rather than interpreting slavery through a Marxist framework of class oppression, Frank B. Wilderson III, demonstrates that the social construct of slavery is hardly a relic of the past but an almost necessary force in our civilisation that flourishes today, and that Black struggles cannot be conflated with the experiences of any other oppressed group. In mellifluous prose, he juxtaposes his seemingly idyllic Minneapolis upbringing with the harshness later encountered, whether in Berkeley or Soweto. Afropessimism reverberates with wisdom and painful clarity in the fractured world we inhabit.

The tsunami of cheap credit that rolled across the planet between 2002 and 2008 was more than a simple financial phenomenon: it was temptation, offering entire societies the chance to reveal aspects of their characters they could not normally afford to indulge. Icelanders wanted to stop fishing and become investment bankers. The Greeks wanted to turn their country into a piñata stuffed with cash and allow as many citizens as possible to take a whack at it. The Germans wanted to be even more German; the Irish wanted to stop being Irish. Michael Lewis's investigation of bubbles beyond our shores is so brilliantly, sadly hilarious that it leads the American reader to a comfortable complacency: oh, those foolish foreigners. But when he turns a merciless eye on California and Washington, DC, we see that the narrative is a trap baited with humor, and we understand the reckoning that awaits the greatest and greediest of debtor nations.

Marvel Entertainment was a moribund toymaker not even twenty years ago. Today, Marvel Studios is the dominant player both in Hollywood and in global pop culture. How did an upstart studio conquer the world? In MCU, beloved culture writers Joanna Robinson, Dave Gonzales, and Gavin Edwards draw on more than a hundred interviews with actors, producers, directors, and writers to present the definitive chronicle of Marvel Studios and its sole, ongoing production, the Marvel Cinematic Universe. For all its outward success, the studio was forged by near-constant conflict, from the contentious hiring of Robert Downey Jr. for its 2008 debut, Iron Man, all the way up to the disappointment of Ant-Man and the Wasp: Quantumania and shocking departures of multiple Marvel executives in 2023. Throughout, the authors demonstrate that the original genius of Marvel was its resurrection and modification of Hollywood's old studio system. But will it survive its own spectacular achievements? Dishy and authoritative, MCU is the first book to tell the Marvel Studios story in full-and an essential, effervescent account of American mass culture.