An NYRB Classics Original First published in 1956, Zama is now universally recognized as one of the masterpieces of modern Argentine and Spanish-language literature. Written in a style that is both precise and sumptuous, weirdly archaic and powerfully novel, Zama takes place in the last decade of the eighteenth century and describes the solitary, suspended existence of Don Diego de Zama, a highly placed servant of the Spanish crown who has been posted to Asunción, the capital of remote Paraguay. There, eaten up by pride, lust, petty grudges, and paranoid fantasies, he does as little as he possibly can while plotting his eventual transfer to Buenos Aires, where everything about his hopeless existence will, he is confident, be miraculously transformed and made good. Don Diego’s slow, nightmarish slide into the abyss is not just a tale of one man’s perdition but an exploration of existential, and very American, loneliness. Zama, with its stark dreamlike prose and spare imagery, is at once dense and unforeseen, terse and fateful, marked throughout by a haunting movement between sentences, paragraphs, and sections, so that every word seems to emerge from an ocean of things left unsaid. The philosophical depths of this great book spring directly from its dazzling prose.

A “crisply written, well researched . . . superb piece of scholarship about one of the most dramatic and decisive battles in the ancient world” (Journal of Military History). At Zama (in what is now Tunisia) in 202 BC, the armies of two great empires clashed: the Romans under Scipio Africanus and Carthaginians, led by Hannibal. Scipio’s forces would win a decisive, bloody victory that forever shifted the balance of power in the ancient world. Thereafter, Rome became the dominant civilization of the Mediterranean. Here, Brian Todd Carey recounts that battle and the grueling war that led up to it. He offers fascinating insight into the Carthaginian and Roman methods of waging war, their military organizations, equipment, and the tactics the armies employed. He also delivers an in-depth critical assessment of the contrasting qualities and leadership styles of Hannibal and Scipio, the two most celebrated commanders of their age. With vivid prose and detailed maps of the terrains of the time, Hannibal’s Last Battle is an essential text for fans of military history and students of the classical period.

The battle of Zama, fought across North Africa around 202 BC, was the final large-scale clash of arms between the world's two greatest western powers of the time – Carthage and Rome. The engagement ended the Second Punic War, waged from 218 until 201 BC. The armies were led by two of the most famous commanders of all time – the legendary Carthaginian general Hannibal, renowned for crossing the Alps with his army into Italy, and the Roman general Publius Cornelius Scipio, who along with his father was among the defeated at the battle of Cannae in 216 BC. Drawing upon years of research, author Mir Bahmanyar gives a detailed account of this closing battle, analysing the tactics employed by each general and the forces they had at their disposal. Stunning, specially commissioned artwork brings to life the epic clash that saw Hannibal defeated and Rome claim its spot as the principal Mediterranean power.

The Zama Codex is a fictional novel set in Central America and structured as alternating chapters describing parallel stories, one set during the fall of the Mayan classic age and the other at a present day archaeological excavation. The reader is drawn into the life of Zama, a scribe and noble living in a highland Mayan city-state (circa 800 A.D). When the city's high priest prophesizes the demise of Mayan civilization, Zama becomes apprentice and scribe to Chaco, a sorcerer with an ambitious plan to save the best of Mayan mystical knowledge from oblivion. The parallel story follows events surrounding the discovery of Zama's codex containing instructions for the acquisition of mystical power on a cosmic scale.

Bored with retirement, Mr. Ali sets up a desk, puts up a sign, and waits for customers for his new matchmaking business. Some clients are a mystery. Some are a challenge. Mr. Ali's assistant, Aruna, finds it a learning experience. But without a dowry, Aruna has no expectation of a match for herself. Then again, as people go about planning their lives, sometimes fate is making other arrangements.

In Technique we will simulate, that better advised, Hannibal would have predicted the evolution of the training of the Roman army and in one of the decisive actions of his plan would not have wasted his elephants against the legionaries but instead employed them against the horses, still susceptible to the instinct to the fear of these. The Carthaginians will employ the reinforced oblique Jomini battle order on the attacking flank (as, although superior in quantity they were inferior in quality): the shock of the Carthaginian line will follow from the right wing with the elephants leading the cavalry Carthaginian against that of the Roman equites - less accustomed to elephants than the Numidians; continuing the infantry tug of war in the center; until the engagement of the Numid cavalry on the left.

Long before he was the taco seller whose 'Gringo Dog' recipe made him famous throughout Mexico City, our hero was an aspiring artist: an artist, that is, till his would-be girlfriend was stolen by Diego Rivera, and his dreams snuffed out by his hypochondriac mother. Now our hero is resident in a retirement home, where fending off boredom is far more grueling than making tacos. Plagued by the literary salon that bumps about his building's lobby and haunted by the self-pitying ghost of a neglected artist, Villalobos's old man can't help but misbehave: he antagonises his neighbors, tortures American missionaries with passages from Adorno, and flirts with the revolutionary greengrocer.

Films like Zama and The Headless Woman have made Lucrecia Martel a fixture on festival marquees and critic's best lists. Though often allied with mainstream figures and genre frameworks, Martel works within art cinema, and since her 2001 debut The Swamp she has become one of international film's most acclaimed auteurs.Gerd Gemünden offers a career-spanning analysis of a filmmaker dedicated to revealing the ephemeral, fortuitous, and endless variety of human experience. Martel's focus on sound, touch, taste, and smell challenge film's usual emphasis on what a viewer sees. By merging of these and other experimental techniques with heightened realism, she invites audiences into film narratives at once unresolved, truncated, and elliptical. Gemünden aligns Martel's filmmaking methods with the work of other international directors who criticize—and pointedly circumvent—the high-velocity speeds of today's cinematic storytelling. He also explores how Martel's radical political critique forces viewers to rethink entitlement, race, class, and exploitation of indigenous peoples within Argentinian society and beyond.