Return to the Motherland follows those who were displaced to the Third Reich back to the Soviet Union after the victory over Germany. At the end of World War II, millions of people from Soviet lands were living as refugees outside the borders of the USSR. Most had been forced laborers and prisoners of war, deported to the Third Reich to work as racial inferiors in a crushing environment. Seth Bernstein reveals the secret history of repatriation, the details of the journey, and the new identities, prospects, and dangers for migrants that were created by the tumult of war. He uses official and personal sources from declassified holdings in post-Soviet archives, more than one hundred oral history interviews, and transnational archival material. Most notably, he makes extensive use of secret police files declassified only after the Maidan Revolution in Ukraine in 2014. The stories described in Return to the Motherland reveal not only how the USSR grappled with the aftermath of war but also the universality of Stalinism's refugee crisis. While arrest was not guaranteed, persecution was ubiquitous. Within Soviet society, returnees met with a cold reception that demanded hard labor as payment for perceived disloyalty, soldiers perpetrated rape against returning Soviet women, and ordinary people avoided contact with repatriates, fearing arrest as traitors and spies. As Bernstein describes, Soviet displacement presented a challenge to social order and the opportunity to rebuild the country as a great power after a devastating war.

At the center of The Hooligan’s Return is the author himself, always an outcast, on a bleak lifelong journey through Nazism and communism to exile in America. But while Norman Manea’s book is in many ways a memoir, it is also a deeply imaginative work, traversing time and place, life and literature, dream and reality, past and present. Autobiographical events merge with historic elements, always connecting the individual with the collective destiny. Manea speaks of the bloodiest time of the twentieth century and of the emergence afterward of a global, competitive, and sometimes cynical modern society. Both a harrowing memoir and an ambitious epic project, The Hooligan’s Return achieves a subtle internal harmony as anxiety evolves into a delicate irony and a burlesque fantasy. Beautifully written and brilliantly conceived, this is the work of a writer with an acute understanding of the vast human potential for both evil and kindness, obedience and integrity.

Rewriting The Return to Africa: Voices of Francophone Caribbean Women Writers examines the ways Guadeloupean women writers Maryse Condé, Simone Schwarz-Bart and Myriam Warner-Vieyra demystify the theme of the return to Africa as opposed to the masculinist version by Négritude male writers from the 1930s to 1960s. Négritude, a cultural and literary movement, drew much of its strength from the idea of a mythical or cultural reconnection with the African past allegorized as a mother figure. In contrast these women writers, of the post-colonial era who are to large extent heirs of Négritude, differ sharply from their male counterparts in their representation of Africa. In their novels, the continent is not represented as a propitious mother figure but a disappointing father figure. This study argues that these women writers' subversion of the metaphorical figure of Africa and its transformation is tied to their gender. The women novelists are indeed critical of a female allegorization of the land that is reminiscent of a colonial or nationalist project and a simplistic representation of motherhood that does not reflect the complexities of the Diaspora's relation to origins and identity. Unlike the primary male writers of the Négritude movement, they carefully "gendered" the notion of return by choosing female protagonists who made their way back to the Motherland in search of identity. I argue that writing is a more suitable space for the female subject seeking identity because it allows her to have a voice and become subject rather than object as that was the case with the Négritude writers. The women writers' shattering of the image of Mother Africa and subsequently that of Father Africa highlights the complex relationship between Africa and the Diaspora from a female point of view. It shifts the identity quest of the characters towards the Caribbean, which emerges as the real problematic mother: a multi-faceted, fragmented figure that reflects the constitutive clash that occurred in the archipelago between Europe, Africa, and the Americas where the issues of race, gender, class, culture, ethnicity, history, and language are very complex.

A moving account of a mother and daughter who visit Germany to face the Holocaust tragedy that has caused their family decades of intergenerational trauma, from the author of Brothers, Sisters, Strangers Finalist for the National Jewish Book Award In 1938, when Edith Westerfeld was twelve, her parents sent her from Germany to America to escape the Nazis. Edith survived, but most of her family perished in the death camps. Unable to cope with the loss of her family and homeland, Edith closed the door on her past, refusing to discuss even the smallest details. Fifty-four years later, when the void of her childhood was consuming both her and her family, she returned to Stockstadt with her grown daughter Fern. For Edith the trip was a chance to reconnect and reconcile with her past; for Fern it was a chance to learn what lay behind her mother's silent grief. Together, they found a town that had dramatically changed on the surface, but which hid guilty secrets and lived in enduring denial. On their journey, Fern and her mother shared many extraordinary encounters with the townspeople and—more importantly—with one another, closing the divide that had long stood between them. Motherland is a story of learning to face the past, of remembering and honoring while looking forward and letting go. It is an account of the Holocaust’s lingering grip on its witnesses; it is also a loving story of mothers and daughters, roots, understanding, and, ultimately, healing.

A 48 page, 210mm X284mm, full colour poetry book, inspired by the diverse people of Far North Queensland and their tropical environment. It's full of some of the strangest birds and animals, as well as resilient rainforest, cane farms and tropical beaches.

《求是》（半月刊）创刊于1958年，邮发代号：2-371，是由中国共产党中央委员会主办的中共中央的机关刊物。是党中央指导全党全国工作的重要思想理论阵地，担负着深入宣传马克思列宁主义、毛泽东思想、邓小平理论、“三个代表”重要思想和科学发展观，完整准确地宣传阐释党的路线方针政策和中央的决策部署，用中国特色社会主义理论体系武装全党、教育人民，引导党员干部树立正确的世界观、人生观、价值观，提高全党马克思主义水平，促进党和国家各项事业发展的重要任务。

From 1929 to 1958, hundreds of thousands of prisoners and exiles from across the Soviet Union were sent to the harsh yet resource-rich Komi Republic in Russia's Far North. When the Soviet Union collapsed, former prisoners sent their autobiographies to Komi's local branches of the anti-Stalinist Memorial Society and history museums. Using these previously unavailable personal records, alongside newspapers, photographs, interviews, and other non-state archival sources, After the Gulag sheds new light not only on how former prisoners experienced life after release but also how they laid the foundations for the future commemoration of Komi's dark past. Bound by a "camp brotherhood," they used informal social networks to provide mutual support amid state and societal oppression. Decades later, they sought rehabilitation with the help of the newly formed Memorial Society—the civic organization largely responsible for the de-Stalinization of the Soviet Union. In sharing their life stories and family archives with Memorial, they sustained an alternate history of the Soviet Union. Offering an unprecedented look at the legacies of mass repression under Stalin, After the Gulag explores how ordinary political prisoners from across the Soviet Union navigated life after release, using memoirs, letters, and art to translate their experiences and shape the politics of memory in post-Soviet Russia.

What would it mean for American and African American literary studies if readers took the spirituality and travel of Black women seriously? With Spirit Deep: Recovering the Sacred in Black Women’s Travel, Tisha Brooks addresses this question by focusing on three nineteenth-century Black women writers who merged the spiritual and travel narrative genres: Zilpha Elaw, Amanda Smith, and Nancy Prince. Brooks hereby challenges the divides between religious and literary studies, and between coerced and "free" passages within travel writing studies to reveal meaningful new connections in Black women’s writings. Bringing together both sacred and secular texts, Spirit Deep uncovers an enduring spiritual legacy of movement and power that Black women have claimed for themselves in opposition to the single story of the Black (female) body as captive, monstrous, and strange. Spirit Deep thus addresses the marginalization of Black women from larger conversations about travel writing, demonstrating the continuing impact of their spirituality and movements in our present world.

It was clear to Lance that his father hated him. Why else would he leave everything to Hank, except for that coin? You know, the one with some dude’s head on it, the ancient Euro or whatever it was. Except it wasn’t a Euro according to the pawnbroker. Turns out, it’s an old Imperial Coin from the days of the Great Emperor, and it might be worth a whole lot of dough on the other side of the galaxy, if Lance could somehow manage to take it there. But, how does a guy, who owes the hospital a lifetime’s worth of earnings, manage to travel across the stars? Turns out, he can do it for free. Not only that, but he can get three squares a day, an apartment complete with roommates, and two sets of clothes, albeit in spandex. It’s like prison, but with benefits. It’s SpaceForce. In the meantime, on the other side of the galaxy, Ailana is stuck next to her hated cousin, Embo in their grandmother’s sewing shop, forever listening to the old woman wax on about her glory days as a Royal Seamstress. No matter how she tries, Ailana can’t break free of Grandmother and her needling, even after the old woman is dead. However, it will be through her needle and thread, that Ailana gains admittance into the privileged world of the nobility, where fate will introduce her to a man that bears a striking resemblance to the face on Lance’s coin.