The long-awaited English-language translation of Hervé Guibert's arresting journals

He fell in love with her at first sight--but their romance didn't begin until after she died.

"Whispers from the Tomb begins with the accidental discovery of an opulent mausoleum opened to the public just once a year. Inside are two enormous marble sarcophagi standing side-by-side for more than half a century. We learn the deceased man is a wealthy businessman who immigrates to the United States in his youth. But less is known about the mysterious woman next to him. Digging back in time yields tantalizing clues."--P. [4] of cover.

The New York Times bestseller “The Shadow of the Wind is ultimately a love letter to literature, intended for readers as passionate about storytelling as its young hero.” —Entertainment Weekly (Editor's Choice) “One gorgeous read.” —Stephen King Barcelona, 1945: A city slowly heals in the aftermath of the Spanish Civil War, and Daniel, an antiquarian book dealer’s son who mourns the loss of his mother, finds solace in a mysterious book entitled The Shadow of the Wind, by one Julián Carax. But when he sets out to find the author’s other works, he makes a shocking discovery: someone has been systematically destroying every copy of every book Carax has written. In fact, Daniel may have the last of Carax’s books in existence. Soon Daniel’s seemingly innocent quest opens a door into one of Barcelona’s darkest secrets--an epic story of murder, madness, and doomed love.

"Barthes's most popular and unusual performance as a writer is "A Lover's Discourse," a writing out of the discourse of love. This language primarily the complaints and reflections of the lover when alone, not exchanges of a lover with his or her partner is unfashionable. Thought it is spoken by millions of people, diffused in our popular romances and television programs as well as in serious literature, there is no institution that explores, maintains, modifies, judges, repeats, and otherwise assumes responsibility for this discourse . . . Writing out the figures of a neglected discourse, Barthes surprises us in "A Lover's Discourse" by making love, in its most absurd and sentimental forms, an object of interest." Jonathan Culler

Diary, memoir, poem, fiction? Autopsy, crime scene, hagiography, hymn? The chronicle of an obsessive love. In the middle of the night between the 25th and 26th of November, Vincent fell from the third floor playing parachute with a bathrobe. He drank a liter of tequila, smoked Congolese grass, snorted cocaine... —from Crazy for Vincent Crazy for Vincent begins with the death of the figure it fixates upon: Vincent, a skateboarding, drug-addled, delicate “monster” of a boy in whom the narrator finds a most sublime beauty. By turns tender and violent, Vincent drops in and out of French writer and photographer Hervé Guibert's life over the span of six years (from 1982, when he first met Vincent as a fifteen-year-old teenager, to 1988). After Vincent's senseless death, the narrator embarks on a reconnaissance writing mission to retrieve the Vincent that had entered, elevated, and emotionally eviscerated his life, working chronologically backward from the death that opens the text. Assembling Vincent's fragmentary appearances in his journal, the author seeks to understand what Vincent's presence in his life had been: a passion? a love? an erotic obsession? or an authorial invention? A parallel inquiry could be made into the book that results: Is it diary, memoir, poem, fiction? Autopsy, crime scene, hagiography, hymn? Crazy for Vincent is a text the very nature of which is as untethered as desire itself.

Intrepid journalist considers power's corrosion, evades execution, and walks on the wild side of war-torn Africa.

"This text explores ways in which language constrains the body, shackles it to gender, and proposes instead an altogether different way of reading, where words are hermaphroditic and in turn transform desire (consequence). Suggesting that one body conceals another, JE NATHANAEL lends an ear to this other body and delights in the anxiety it provokes."--Small Press Distribution.

The dead won’t bother you if you don’t give them permission. Boston, 1844. Tabby has a peculiar gift: she can communicate with the recently departed. It makes her special, but it also makes her dangerous. As an orphaned child, she fled with her sister, Alice, from their charlatan aunt Bellefonte, who wanted only to exploit Tabby’s gift so she could profit from the recent craze for seances. Now a young woman and tragically separated from Alice, Tabby works with her adopted father, Eli, the kind caretaker of a large Boston cemetery. When a series of macabre grave robberies begins to plague the city, Tabby is ensnared in a deadly plot by the perpetrators, known only as the “Resurrection Men.” In the end, Tabby’s gift will either save both her and the cemetery—or bring about her own destruction. Don't miss Hester Fox's next novel, THE BOOK OF THORNS, where two sisters who never knew the other existed meet on opposite sides during the Napoleonic Wars and must use the magic of flowers to solve the mystery of their mother’s death—while surviving the war raging around them... Look for these other gothic mysteries from Hester Fox: The Last Heir to Blackwood Library The Witch of Willow Hall The Widow of Pale Harbor A Lullaby for Witches

A poetry collection that celebrates Black culture, creativity, and memory. From Kendrick to Kanye, to a Sunday in Oakland with Frank Ocean's falsetto in the foreground, Mausoleum of Flowers is still life set against the backdrop of demise. Daniel Summerhill's sophomore collection grabs fate by the throat and confronts it. What does it mean to continue living when your friends are dying beside you? This collection melds an exploration of spirituality and rebellion with Black tradition. Summerhill's poems invite the reader near in order to self-excavate and explore tones of loss, love, and light.