La Diablesse, the woman with one foot and one hoof, who steals babies, comes to a country house with a new baby, but Granny could be too wise for her.

On the Isle of Spice, best friends Aglo and Petal receive an unexpected reward from the elusive Nutmeg Princess, whose story they have learned from Petite Mama.

La Diablesse, the woman with one foot and one hoof, who steals babies, comes to a country house with a new baby, but Granny could be too wise for her.

A collection of three stories inspired by Caribbean folklore.

The Japanese believe that until the age of three, children, whether Japanese or not, are gods, each one an okosama, or "lord child." On their third birthday they fall from grace and join the rest of the human race. In Amelie Nothomb's new novel, The Character of Rain, we learn that divinity is a difficult thing from which to recover, particularly if, like the child in this story, you have spent the first tow and a half years of life in a nearly vegetative state. "I remember everything that happened to me after the age of two and one-half," the narrator tells us. She means this literally. Once jolted out of her plant-like , tube-like trance (to the ecstatic relief of her concerned parents), the child bursts into existence, absorbing everything that Japan, where her father works as a diplomat, has to offer. Life is an unfolding pageant of delight and danger, a ceaseless exploration of pleasure and the limits of power. Most wondrous of all is the discovery of water: oceans, seas, pools, puddles, streams, ponds, and, perhaps most of all, rain-one meaning of the Japanese character for her name. Hers is an amphibious life. The Character of Rain evokes the hilarity, terror, and sanctity of childhood. As she did in the award-winning, international bestesller Fear and Trembling, Nothomb grounds the novel in the outlines of her experiences in Japan, but the self-portrait that emerges from these pages is hauntingly universal. Amelie Nothomb's novels are unforgettable immersion experiences, leaving you both holding your breath with admiration, your lungs aching, and longing for more.

A TIMES AND EVENING STANDARD BOOK OF THE YEAR WINNER OF THE DESMOND ELLIOTT PRIZE 2019 ONE OF THE BBC'S '100 NOVELS THAT SHAPED OUR WORLD' LONGLISTED FOR THE EDINBURGH FESTIVAL FIRST BOOK AWARD 'So hard to put down.' Daily Mail 'Startling . . . Remarkable.' Economist 'Right away I was utterly absorbed.' Sarah Jessica Parker One father. Two sons. An impossible choice. When thirteen-year-old Paul doesn't return home one afternoon, even his twin brother, Peter, doesn't know where he is. So their father, Clyde, must set out into the dark Trinidadian bush with a torch, to search for him on foot. And when the reasons for Paul's disappearance become clear, Clyde will be faced with a terrible decision. How does a father choose between his children? How does he weigh up what each one is worth? Which one is the golden child?

Overall Winner of the 2019 OCM Bocas Prize for Caribbean Literature High Mas: Carnival and the Poetics of Caribbean Culture explores Caribbean identity through photography, criticism, and personal narrative. Taking a sophisticated and unapologetically subjective Caribbean point of view, the author delves into Mas—a key feature of Trinidad performance—as an emancipatory practice. The photographs and essays here immerse the viewer in carnival experience as never before. Kevin Adonis Browne divulges how performers are or wish to be perceived, along with how, as the photographer, he is implicated in that dynamic. The resulting interplay encourages an informed, nuanced approach to the imaging of contemporary Caribbeanness. The first series, “Seeing Blue,” features Blue Devils from the village of Paramin, whose performances signify an important revision of the post-emancipation tradition of Jab Molassie (Molasses Devil) in Trinidad. The second series, “La Femme des Revenants,” chronicles the debut performance of Tracey Sankar’s La Diablesse, which reintroduced the “Caribbean femme fatale” to a new audience. The third series, “Moko Jumbies of the South,” looks at Stephanie Kanhai and Jonadiah Gonzales, a pair of stilt-walkers from the performance group Touch de Sky from San Fernando in southern Trinidad. “Jouvay Reprised,” the fourth series, follows the political activist group Jouvay Ayiti performing a Mas in the streets of Port of Spain on Emancipation Day in 2015. Troubling the borders that persist between performer and audience, embodiment and spirituality, culture and self-consciousness, the book interrogates what audiences understand about the role of the participant-observer in public contexts. Representing the uneasy embrace of tradition in Trinidad and the Caribbean at large, the book probes the multiple dimensions of vernacular experience and their complementary cultural expressions. For Browne, Mas performance is an exquisite refusal to fully submit to the lingering traumas of slavery, the tyrannies of colonialism, and the myths of independence.

From the 1930s through the dawning of a new century, these tender and moving stories underscore living life with style and hidden steel despite one’s circumstances and warn against disregarding the past struggles of others. Doux Thibaut negotiates a hard life on the Caribbean island of Paz, confronting the shame of poverty and illegitimacy, the hazards of sectarianism on an island segregated into Catholics and Protestants, and the injustices of racism and classism. As an old lady moving between the homes of her children in Boston and New York, Doux wonders whether they and her grandchildren really appreciate what her engagement with life has taught her. In The Ladies Are Upstairs, Merle Collins has created a mosaic novel from these stories of a Caribbean woman’s life, demanding that such lives not be forgotten.