Zones of social abandonment are emerging everywhere in Brazil’s big cities—places like Vita, where the unwanted, the mentally ill, the sick, and the homeless are left to die. This haunting, unforgettable story centers on a young woman named Catarina, increasingly paralyzed and said to be mad, living out her time at Vita. Anthropologist João Biehl leads a detective-like journey to know Catarina; to unravel the cryptic, poetic words that are part of the "dictionary" she is compiling; and to trace the complex network of family, medicine, state, and economy in which her abandonment and pathology took form. An instant classic, Vita has been widely acclaimed for its bold fieldwork, theoretical innovation, and literary force. Reflecting on how Catarina’s life story continues, this updated edition offers the reader a powerful new afterword and gripping new photographs following Biehl and Eskerod’s return to Vita. Anthropology at its finest, Vita is essential reading for anyone who is grappling with how to understand the conditions of life, thought, and ethics in the contemporary world.

In April 1903, the steamship Republic spills more than two thousand immigrants onto Ellis Island. Among them are Diamante, age twelve, and Vita, nine, sent by their poor families in southern Italy to make their way in America. Amid the chaos and splendor of New York, the misery and criminality of Little Italy, and the shady tenants of Vita's father's decrepit Prince Street boarding house, Diamante and Vita struggle to survive, to create a new life, and to become American. From journeys west in search of work to journeys back to Italy in search of their roots, to Vita's son's encounter with his mother's home town while serving as an army captain in World War II, Vita touches on every aspect of the heartbreaking and inspiring immigrant story. The award-winning Italian author Melania G. Mazzucco weaves her own family history into a great American novel of the immigrant experience. A sweeping tale of discovery, love, and loss, Vita is a passionate blend of biography and autobiography, of fantasy and fiction.

Two planets are on the brink of war in Memoria, the thrilling second book in an action-packed space opera trilogy, The Nova Vita Protocol. The Kaiser Family helped the Nova Vita system avoid a catastrophic multi-planet war, one that the Kaisers might have accidentally caused in the first place. In their wake, two planets have been left devastated by ancient alien technology. Now, the Kaisers try to settle into their new lives as tenuous citizens of the serene water planet, Nibiru, but Scorpia Kaiser can never stay still. So, she takes another shady job. One that gives her a ship where spaceborn like her belong. But while Scorpia is always moving forward, Corvus can't seem to leave his life as a soldier behind. Every planet in the system is vying to strip his razed home planet Titan of its remaining resources, and tensions are high. The Kaisers will need to discover the truth behind what happened on Gaia and Titan, or Corvus will be forced again to fight in an unwinnable war -- and this time, all of Nova Vita is at stake. The Nova Vita Protocol:FortunaMemoria

“Vita Nostra” — a cross between Lev Grossman’s “The Magicians” and Elizabeth Kostova’s “The Historian” [...] is the anti-Harry Potter you didn’t know you wanted.” -- The Washington Post “Vita Nostra has become a powerful influence on my own writing. It’s a book that has the potential to become a modern classic of its genre, and I couldn’t be more excited to see it get the global audience in English it so richly deserves.” -- Lev Grossman Best Books of November 2018 -- Paste Magazine The definitive English language translation of the internationally acclaimed Russian novel—a brilliant dark fantasy combining psychological suspense, enchantment, and terror that makes us consider human existence in a fresh and provocative way. Our life is brief . . . Sasha Samokhina has been accepted to the Institute of Special Technologies. Or, more precisely, she’s been chosen. Situated in a tiny village, she finds the students are bizarre, and the curriculum even more so. The books are impossible to read, the lessons obscure to the point of maddening, and the work refuses memorization. Using terror and coercion to keep the students in line, the school does not punish them for their transgressions and failures; instead, it is their families that pay a terrible price. Yet despite her fear, Sasha undergoes changes that defy the dictates of matter and time; experiences which are nothing she has ever dreamed of . . . and suddenly all she could ever want. A complex blend of adventure, magic, science, and philosophy that probes the mysteries of existence, filtered through a distinct Russian sensibility, this astonishing work of speculative fiction—brilliantly translated by Julia Meitov Hersey—is reminiscent of modern classics such as Lev Grossman’s The Magicians, Max Barry’s Lexicon, and Katherine Arden’s The Bear and the Nightingale, but will transport them to a place far beyond those fantastical worlds.

The Kenya Socialist exists to: Promote socialist ideas, experiences and world outlook; Increase awareness of classes, class contradictions and class struggles in Kenya, both historical and current; Expose the damage done by capitalism and imperialism in Kenya and Africa; Offer solidarity to working class, peasants and other working people and communities in their struggles for equality and justice; Promote internationalism and work in solidarity with people in Africa and around the world in their resistance to imperialism; Make explicit the politics of information and communication as tools of repression and also of resistance in Kenya. This first issue covers several areas that remain neglected in public discourse in Kenya. The study of class remains one such topic and Kimani Waweru’s article, Class and Class Struggle in Kenya, fills this gap. Waweru also contributes a briefing on ideology as a weapon of oppression or liberation. He will continue his theoretical explorations in the next issue with an article on gender and women’s oppression and liberation. History is never far from any liberation struggle. Nicholas Mwangi looks at Mau Mau and the origin and meaning of the term ‘Mau Mau’. Njoki Wamai’s contribution is her presentation at the All African Peoples’ Conference in Accra in 2018. Linking up with the launch of the Ukombozi Library, the question arises, ‘What is the role of information in liberation?’ Shiraz Durrani answers some question from Julian Jaravata on various aspects of information. Finally, Durrani looks at the challenge by Wakamba wood carvers to the information embargo under President Moi.

The legend of the Great Spotted Whale has never been proven until two whale watchers set out on a journey fifty years later to find the mythical animal. When they finally see it, they discover another surprise even bigger than they imagined.

Vita Sackville-West, novelist, poet, and biographer, is best known as the friend of Virginia Woolf, who transformed her into an androgynous time-traveler in Orlando. The story of her love affair with Violet Keppel Trefusis in 1920 is one of intrigue and bewilderment. In Portrait of a Marriage, Nigel Nicolson combines his mother's vivid memoir of escapade with what he learned from copious family letters and explains the context of this romantic crisis. He also describes how Vita Sackville-West and Harold Nicolson went on to live the rest of their lives in harmonious marriage.

Fellini's La dolce vita has been a phenomenon since before it was made, a scandal in the making and on release in 1960 and a reference point ever since. Much of what made it notorious was its incorporation of real people, events and lifestyles, making it a documentation of its time. It uses performance, camera movement, editing and music to produce a striking aesthetic mix of energy and listlessness, of exuberance and despair. Richard Dyer's study considers each of these aspects of the film – phenomenon, document, aesthetic – and argues that they are connected. Beginning with the inspirations and ideas that were subsequently turned into La dolce vita, Dyer then explores the making of the film, the film itself and finally its critical reception, providing engaging new insights into this mesmerising piece of cinema.