A young man named Henry sits down with his grandmother, a genial lady still called Baby by everyone, in her Manhattan townhouse where he has lived all his life, to record the history of a spiritual movement that has woven itself into the fabric of their family's lives for four generations. What unfolds is a mesmerizing family saga: the imperious great-grandmother Elsa and her husband, an Indian poet, whose marriage is as unconventional as the movement they help to found; Baby, their cheerfully pragmatic daughter, married to the aloof English diplomat Graeme; bemused and brooding Renata, Baby and Graeme's daughter, married to an idle dreamer; and finally Henry, Renata's son, who in many ways bears the legacy of all that has gone before. Their lives--and that of the movement's elusive yet ineluctable founder, known only as the Master--intertwine, diverge, and collide with each other in a masterfully orchestrated story spanning the twentieth century and several continents. By turns brilliantly satiric, insightful, and profoundly moving, Shards Of Memory is a beautifully wrought tale of love and devotion, of family and faith, and of the complex nature of memory itself--a literary tour de force from one of the most distinguished novelists of our time.

An exploration of life at the margins of history from one of Russia’s most exciting contemporary writers Shortlisted for the 2021 International Booker Prize Winner of the MLA Lois Roth Translation Award With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persecutions and repressions of the last century. In dialogue with writers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various forms—essay, fiction, memoir, travelogue, and historical documents—Stepanova assembles a vast panorama of ideas and personalities and offers an entirely new and bold exploration of cultural and personal memory.

Nalini Singh returns to the Psy/Changeling world and its “breathtaking blend of passion, adventure, and the paranormal”* as a woman without a past becomes the pawn of a man who controls her future… Dev Santos discovers her unconscious and battered, with no memory of who she is. All she knows is that she’s dangerous. Charged with protecting his people’s most vulnerable secrets, Dev is duty-bound to eliminate all threats. It’s a task he’s never hesitated to complete…until he finds himself drawn to a woman who might yet prove the enemy’s most insidious weapon. Stripped of her memories by a shadowy oppressor, and programmed to carry out cold-blooded murder, Katya Haas is fighting desperately for her sanity itself. Her only hope is Dev. But how can she expect to gain the trust of a man who could very well be her next target? For in this game, one must die…

When Enemies Become More than Friends -- THEY WIN In her first trial by fire, Cordelia Naismith captained a throwaway ship of the Betan Expeditionary Force on a mission to destroy an enemy armada. Discovering deception within deception, treachery within treachery, she was forced into a separate peace with her chief opponent, Lord Aral Vorkosigan -- he who was called "The Butcher of Komarr" -- and would consequently become an outcast on her own planet and the Lady Vorkosigan on his. Sick of combat and betrayal, she was ready to settle down to a quiet life, interrupted only by the occasional ceremonial appearances required of the Lady Vorkosigan. But when the Emperor died, Aral became guardian of the infant heir to the imperial throne of Barrayar -- and the target of high-tech assassins in a dynastic civil war that was reminiscent of Earth's Middle Ages, but fought with up-to-the minute biowar technology. Neither Aral nor Cordelia guessed the part that their cell-damaged unborn would play in Barrayari's bloody legacy.

With the Spanish conquest of Islamic Granada and the expulsion of the Jews from Spain, the year 1492 marks the exile from Europe of crucial strands of medieval culture. It also becomes a symbolic marker for the expulsion of a diversity in language and grammar that was disturbing to the Renaissance sensibility of purity and stability. In rewriting Columbus's narrative of his voyage of that year, Renaissance historians rewrote history, as was often their practice, to purge it of an offending vulgarity. The cultural fragments left behind following this exile form the core of Shards of Love, as María Rosa Menocal confronts the difficulty of writing their history. It is in exile that Menocal locates the founding conditions for philology--as a discipline that loves origins--and for the genre of love songs that philology reveres. She crosses the boundaries, both temporal and geographical, of 1492 to recover the "original" medieval culture, with its Mediterranean mix of European, Arabic, and Hebrew poetics. The result is a form of literary history more lyrical than narrative and, Menocal persuasively demonstrates, more appropriate to the Middle Ages than to the revisionary legacy of the Renaissance. In discussions ranging from Eric Clapton's adaption of Nizami's Layla and Majnun, to the uncanny ties between Jim Morrison and Petrarch, Shards of Love deepens our sense of how the Middle Ages is tied to our own age as it expands the history and meaning of what we call Romance philology.

A new epic fantasy series from the New York Times bestselling author chosen to complete Robert Jordan's The Wheel of Time® Series

A New York Times Notable Book: “Brilliant . . . With verbal glee, Prcic serves up a darkly comic vision of the terrors and misunderstandings of immigration” (Shelf Awareness). Ismet Prcic’s brilliant, provocative, and energetic debut novel is about a young Bosnian, also named Ismet Prcic, who has fled his war-torn homeland and is now struggling to reconcile his past with his present life in California. He is advised that in order to make peace with the corrosive guilt he harbors over leaving his family behind, he must “write everything.” The result is a great rattlebag of memories, confessions, and fictions: sweetly humorous recollections of Ismet’s childhood in Tuzla appear alongside anguished letters to his mother about the challenges of life in this new world. As Ismet’s foothold in the present falls away, his writings are further complicated by stories from the point of view of another young man—real or imagined—named Mustafa, who joined a troop of elite soldiers and stayed in Bosnia to fight. When Mustafa’s story begins to overshadow Ismet’s new-world identity, the reader is charged with piecing together the fragments of a life that has become eerily unrecognizable, even to the one living it. Shards is a thrilling read—a harrowing war story, a stunningly inventive coming of age, and a heartbreaking saga of a splintered family. “Fierce, funny and real, it also says much about war, exile, guilt and fear.” —Chicago Sun-Times, Favorite Books of 2011

Fractured history. Broken lives. Splintered souls. Since the alternate universe was first glimpsed in the classic episode "Mirror, Mirror," something about Star Trek's dark side has beckoned us, called to us, tempted us -- like forbidden fruit on the Tree of Knowledge. To taste it is to lose oneself in a world of startling familiarity and terrifying contradictions, where everything and everyone we knew is somehow disturbingly different, and where shocking secrets await their revelation. What began in 2007 with Glass Empires and Obsidian Alliances -- the first truly in-depth foray into the turbulent history of this other continuum -- now continues in twelve new short tales that revisit and expand upon that so-called "Mirror Universe," spanning all five of the core incarnations of Star Trek, as well as their literary offshoots, across more than two hundred years of divergent history, as chronicled by... Christopher L. Bennett - Margaret Wander Bonanno - Peter David - Keith R.A. DeCandido - Michael Jan Friedman - Jim Johnson - Rudy Josephs - David Mack - Dave Stern - James Swallow - Dayton Ward & Kevin Dilmore - Susan Wright

Since World War II, French and Francophone literature and film have repeatedly sought not to singularize the Holocaust as the paradigm of historical trauma but rather to connect its memory with other memories of violence, namely that of colonialism. These works produced what Debarati Sanyal calls a “memory-in-complicity” attuned to the gray zones that implicate different regimes of violence across history as well as those of different subject positions such as victim, perpetrator, witness, and reader/spectator. Examining a range of works from Albert Camus, Primo Levi, Alain Resnais, and Jean-Paul Sartre to Jonathan Littell, Assia Djebar, Giorgio Agamben, and Boualem Sansal, Memory and Complicity develops an inquiry into the political force and ethical dangers of such implications, contrasting them with contemporary models for thinking about trauma and violence and offering an extended meditation on the role of aesthetic form, especially allegory, within acts of transhistorical remembrance. What are the political benefits and ethical risks of invoking the memory of one history in order to address another? What is the role of complicity in making these connections? How does complicity, rather than affect based discourses of trauma, shame and melancholy, open a critical engagement with the violence of history? What is it about literature and film that have made them such powerful vehicles for this kind of connective memory work? As it offers new readings of some of the most celebrated and controversial novelists, filmmakers, and playwrights from the French-speaking world, Memory and Complicity addresses these questions in order to reframe the way we think about historical memory and its political uses today.