A collection of short stories that explore the lives of teenagers affected directly or indirectly by drugs.

Because the Taliban rulers of Kabul, Afghanistan impose strict limitations on women's freedom and behavior, eleven-year-old Parvana must disguise herself as a boy so that her family can survive after her father's arrest.

Mavis Gallant is the modern master of what Henry James called the international story, the fine-grained evocation of the quandaries of people who must make their way in the world without any place to call their own. The irreducible complexity of the very idea of home is especially at issue in the stories Gallant has written about Montreal, where she was born, although she has lived in Paris for more than half a century. Varieties of Exile, Russell Banks's extensive new selection from Gallant's work, demonstrates anew the remarkable reach of this writer's singular art. Among its contents are three previously uncollected stories, as well as the celebrated semi-autobiographical sequence about Linnet Muir—stories that are wise, funny, and full of insight into the perils and promise of growing up and breaking loose.

In this sequel to "The Breadwinner," the Taliban still control Afghanistan, but Kabul is in ruins. Twelve-year-old Parvana's father has just died, and Parvana sets out alone to find her family, masquerading as a boy.

A brilliant debut from a rising talent praised by Salman Rushdie, among others. A grandson tries to buy the corpse of Lenin on eBay for his Communist grandfather. A failed wunderkind steals a golden cross from an orthodox church. A boy meets his cousin (the love of his life) once every five years in the waters of the river that divides their village into East and West. These are some of the strange, unexpectedly moving events in talented newcomer Miroslav Penkov's vision of his home country, Bulgaria, and they are the stories that make up his extraordinary debut collection. In East of the West Penkov writes with great empathy about 800 years of tumult in troubled Eastern Europe; his characters mourn the way things were and long for things that will never be. But even as the characters wrestle with the weight of history, the debt to family, and the pangs of exile, the stories themselves are light and deft, animated by Penkov's unmatched eye for the absurd. In 2008, Salman Rushdie chose Penkov's story "Buying Lenin" (which appears in this collection) for that year's Best American Short Stories, citing its heart and humour. East of the West reveals the full realization of the brilliant potential that Rushdie recognized.

When a Muslim boy is arrested at a high school on suspicion of terrorist affiliations, growing racial tensions divide the student population.

Fifteen-year-old Abdul, having lost everyone he loves, journeys from Baghdad to a migrant community in Calais where he sneaks aboard a boat bound for England, not knowing it carries a cargo of heroin, and when the vessel is involved in a skirmish and the pilot killed, it is up to Abdul and three other young stowaways to complete the journey.

After being taken in by a family of coca farmers, Diego is devastated when the army threatens to destroy the only source of income they have and so works to stop the army and save the people he has come to love.

Living with his family in a prison in Bolivia due to his parents' convictions for drug trafficking, twelve-year-old Diego does his best to live a normal life, but when his mother receives additional fines, Diego risks everything to earn quick money.

A New York Review Books Original Everything Flows is Vasily Grossman’s final testament, written after the Soviet authorities suppressed his masterpiece, Life and Fate. The main story is simple: released after thirty years in the Soviet camps, Ivan Grigoryevich must struggle to find a place for himself in an unfamiliar world. But in a novel that seeks to take in the whole tragedy of Soviet history, Ivan’s story is only one among many. Thus we also hear about Ivan’s cousin, Nikolay, a scientist who never let his conscience interfere with his career, and Pinegin, the informer who got Ivan sent to the camps. Then a brilliant short play interrupts the narrative: a series of informers steps forward, each making excuses for the inexcusable things that he did—inexcusable and yet, the informers plead, in Stalinist Russia understandable, almost unavoidable. And at the core of the book, we find the story of Anna Sergeyevna, Ivan’s lover, who tells about her eager involvement as an activist in the Terror famine of 1932–33, which led to the deaths of three to five million Ukrainian peasants. Here Everything Flows attains an unbearable lucidity comparable to the last cantos of Dante’s Inferno.