2017 INSPY Award winner, general fiction category Before Christ called her daughter . . . Before she stole healing by touching the hem of his garment . . . Elianna is a young girl crushed by guilt. After her only brother is killed while in her care, Elianna tries to earn forgiveness by working for her father’s textile trade and caring for her family. When another tragedy places Elianna in sole charge of the business, her talent for design brings enormous success, but never the absolution she longs for. As her world unravels, she breaks off her betrothal to the only man she will ever love. Then illness strikes, isolating Elianna from everyone, stripping everything she has left. No physician can cure her. No end is in sight. Until she hears whispers of a man whose mere touch can heal. After so many years of suffering and disappointment, is it possible that one man could redeem the wounds of body . . . and soul?

In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.

This masterful translation of a recent Bolivian novel, En el pais del silencio, transports us to a mysterious, silent, and unfamiliar land where astonishing truths are placed within our grasp. Like a parabola, this amazing story begins and ends in the same place on the same day in the life of a single persona with three interior entities: Jursafú, The Other, and The Dead Man. By portraying them as separate, Urzagasti accentuates their interrelatedness, for one character cannot grow without the others, nor can any one of them move toward an ultimate goal without the experience and knowledge of the other two. The author’s mature and thoroughly Bolivian style is marked by a synthesis of poetic and novelistic techniques which blend perfectly the indigenous and European voices of his ancestral home.

The story of Jursafu, a Bolivian journalist caught up in a revolutionary struggle. The novel traces his development from simple country boy to intellectual, but one who still retains the common touch.

Majestic mountains, snow-capped peaks, and beyond a pass a mysterious master is said to exist. The narrator goes to the Himalayas searching for one of those legendary masters who lives an austere life in a cave and whose spirit encompasses countless ages and myriad worlds. The seeker is guided in perceptible and often imperceptible ways until he ultimately enters the land of silence. All of the sudden, in one single moment, my entire world was reduced to a pile of ashes. A mysterious power compelled me to penetrate still deeper into hidden, unknown worlds. During his process of inner revolution, the author experiences a profound transformation. Between day and dream, the truth is revealed to him in the pure light of the Universal. The reader is taken in a very unconventional manner through vast mountainous realms towards an encounter with extraordinarily cultivated high masters. Mario Mantese is the author of over twenty works of spiritual literature. Among them are classics such as In the Heart of the World and Wisdom for Everyone. Thousands of people come to his gatherings from all over the world. He refers to himself as the empty teacher. His home is the great silence.

Hugh Brody is renowned for his work with indigenous peoples. In the 80s he was engaged in a lawsuit brought by the Inuit people of the Arctic against the Canadian government. Brody lived with the Inuit, learned their language, recorded all their stories, which were then used as evidence in the court case - which the Inuit won. In his new book, he returns to the Arctic and is confronted by the deterioration of the situation there. The Inuit now possess the land, but the government has pressured them into living in settlements rather than out on the land. Their children are forced to go to school where they learn to speak English, losing their own language, which is the element that ties them to their land. Sexual abuse by the treachers intimidates the children into a silence that results in widespread suicide among the young. This silence ties in with Brody's own story - a mother hounded out of her home in Vienna by the Nazis, causing her to retreat into the same kind of silence that Tom Stoppard experienced from his mother, who also fled from the Nazis. As a writer and anthropologist, Brody's concern has always been with the human condition, arguing for the need to safeguard the most vulnerable from the depredations of the modern word.

In the vein of K. Arsenault Rivera and V.E. Schwab comes L. Penelope's Requiem of Silence, the epic conclusion in the stunning Earthsinger Chronicles. Civil unrest plagues the nation of Elsira as refugees from their old enemy, Lagrimar, seek new lives in their land. Queen Jasminda is determined to push the unification forward, against growing opposition and economic strife. But the True Father is not finished with Elsira and he may not be acting alone. He has built a powerful army. An army that cannot be killed. An army that can only be stopped by Nethersong and the help of friends and foes of Elsira alike to stop it. Former assassin Kyara will discover that she is not the only Nethersinger. She will need to join the others to harness a power that can save or end Elsira. But time is of the essence and they may not be ready by the time the True Father strikes. Sisterhood novitiate Zeli will go to the reaches of the Living World to unlock a secret that could save the kingdoms. When armies meet in the battlefield, a new world will be forged--whether by the hands of gods or men, remains to be seen.

Winner of the Scott O'Dell Award for Historical Fiction, The Game of Silence is the second novel in the critically acclaimed Birchbark House series by New York Times bestselling author Louise Erdrich. Her name is Omakayas, or Little Frog, because her first step was a hop, and she lives on an island in Lake Superior. One day in 1850, Omakayas’s island is visited by a group of mysterious people. From them, she learns that the chimookomanag, or white people, want Omakayas and her people to leave their island and move farther west. That day, Omakayas realizes that something so valuable, so important that she never knew she had it in the first place, could be in danger: Her way of life. Her home. The Birchbark House Series is the story of one Ojibwe family’s journey through one hundred years in America. The New York Times Book Review raved about The Game of Silence: “Erdrich has created a world, fictional but real: absorbing, funny, serious and convincingly human.”

A splendid collection from a true master It is often in solitude that a writer begins to understand herself. This becomes evident in The Land of Silence, May Sarton’s collection of poems previously published in the New Yorker and Harper’s Magazine, as Sarton searches for solitude and tries to understand the regrets and ecstasies associated with it. Images from these poems linger in the mind’s eye: a bird, a dream. Sarton’s verse feels real, yet it represents something more. Published in 1953, the year after Sarton won the Reynolds Lyric Award of the Poetry Society of America, The Land of Silence presents a poet at peak form.