Netflix’s series adaptation of One Hundred Years of Solitude premieres December 11, 2024! One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize–winning career. The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America. Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth—these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.

The Twentieth Century in European Memory investigates contested and divisive memories of conflicts, world wars, dictatorship, genocide and mass killing. Focusing on the questions of transculturality and reception, the book looks at the ways in which such memories are being shared, debated and received by museum workers, artists, politicians and general audiences. Due to amplified mobility and communication as well as Europe’s changing institutional structure, such memories become increasingly transcultural, crossing cultural and political borders. This book brings together in-depth researched case studies of memory transmission and reception in different types of media, including films, literature, museums, political debate printed and digital media, as well as studies of personal and public reactions. Contributors are: Ismar Dedović, Astrid Erll, Rosanna Farbøl, Magdalena Góra, Gunnthorunn Gudmundsdottir, Anne Heimo, Sara Jones, Wulf Kansteiner, Slawomir Kapralski, Zoé de Kerangat, Zdzisław Mach, Natalija Majsova, Inge Melchior, Daisy Neijmann, Vjeran Pavlaković, Benedikt Perak, Tea Sindbæk Andersen, and Barbara Törnquist-Plewa.

AVAILABLE FOR THE FIRST TIME IN eBOOK! A New York Times Notable Book On the eve of his ninetieth birthday a bachelor decides to give himself a wild night of love with a virgin. As is his habit–he has purchased hundreds of women–he asks a madam for her assistance. The fourteen-year-old girl who is procured for him is enchanting, but exhausted as she is from caring for siblings and her job sewing buttons, she can do little but sleep. Yet with this sleeping beauty at his side, it is he who awakens to a romance he has never known. Tender, knowing, and slyly comic, Memories of My Melancholy Whores is an exquisite addition to the master’s work.

In Jennifer Summit’s account, libraries are more than inert storehouses of written tradition; they are volatile spaces that actively shape the meanings and uses of books, reading, and the past. Considering the two-hundred-year period between 1431, which saw the foundation of Duke Humfrey’s famous library, and 1631, when the great antiquarian Sir Robert Cotton died, Memory’s Library revises the history of the modern library by focusing on its origins in medieval and early modern England. Summit argues that the medieval sources that survive in English collections are the product of a Reformation and post-Reformation struggle to redefine the past by redefining the cultural place, function, and identity of libraries. By establishing the intellectual dynamism of English libraries during this crucial period of their development, Memory’s Library demonstrates how much current discussions about the future of libraries can gain by reexamining their past.

Sherman Sage (ca. 1844?1943) was an unforgettable Arapaho man who witnessed profound change in his community and was one of the last to see the Plains black with buffalo. As a young warrior, Sage defended his band many times, raided enemy camps, saw the first houses go up in Denver, was present at Fort Laramie for the signing of the 1868 treaty, and witnessed Crazy Horse?s surrender. Later, he visited the Ghost Dance prophet Wovoka and became a link in the spread of the Ghost Dance religion to other Plains Indian tribes. As an elder, Old Man Sage was a respected, vigorous leader, walking miles to visit friends and family even in his nineties. One of the most interviewed Native Americans in the Old West, Sage was a wellspring of information for both Arapahos and outsiders about older tribal customs.ø ø Anthropologist Jeffrey D. Anderson gathered information about Sage?s long life from archives, interviews, recollections, and published sources and has here woven it into a compelling biography. We see different sides of Sage?how he followed a traditional Arapaho life path; what he learned about the Rocky Mountains and Plains; what he saw and did as outsiders invaded the Arapahos? homeland in the nineteenth century; how he adjusted, survived, and guided other Arapahos during the early reservation years; and how his legacy lives on today. The remembrances of Old Man Sage?s relatives and descendants of friends make apparent that his vision and guidance were not limited to his lifetime but remain vital today in the Northern Arapaho tribe.

1882 Americans R. B. Langdon and D. C. Shepard (both from Minnesota) had been awarded a rail contract from present day Oak Lake, Manitoba to Fort Calgary. Both men would meet with such success that their names would be given to towns along the way. The site they numbered 17 would become the present-day Strathmore. 1883 The original 5,600-foot siding of Strathmore was actually on Eagle Lake, 3.5 miles south of the town s present location. 28 July In a single day, 6.38 miles of track were laid at what is now the Town of Strathmore. Although it proved to be a short-lived record, it gave the siding some note for years to come. 1 December The name Strathmore first appeared on the Canadian Pacific Railway (CPR) Timetable. It was likely given the name by CPR Superintendant James Ross. Strathmore s Scottish Heritage Today, if one were to do a quick accounting of the cultures that have had the most to do with Strathmore s make-up, a similar list would appear as with all prairie towns: the British Isles, much of the Western European continents, smatterings of Eastern and Northern Europe, a few unique groups such as the Chinese, the odd Greek or Italian, and there s no underestimating the impact of the nearby Native reservation s culture on Strathmore then and now. However, there is no ignoring that the name Strathmore comes from the highlands of Scotland. In 1883, CPR Superintendant James Ross was giving Western European (especially British) names to many of the new railway sidings across Western Canada. This system of using familiar names had two effects: (1) it helped in the expediency of naming, using pre-existing rather than newly-created names, and (2) it attracted settlers to locations that bore familiar names. Ross had a particular affinity for Scottish names, being himself a Scotsman, and it was almost certainly he who named Strathmore. In Scotland, Strathmore is the name of a valley of the Isla branch of the Tay River, north of Dundee. The valley is home to Glamis Castle, famously the residence of Macbeth, and the traditional home of the Earl of Strathmore, a relative of the British Royal Family. In Scotland, the name is pronounced StrithMORE, with heavy emphasis on the second syllable. Translated from Gaelic, strath means valley and mohr means big. The original location of Strathmore on Eagle Lake would have been enough like a Scottish valley to warrant the comparison.

Winner of the 2022 Governor General’s Literary Award in Fiction Shortlisted for the 2023 Rathbones Folio Prize in Fiction Named a Best Book of the Year by The New York Times, The New Yorker, Vulture, The Times Literary Supplement, and more Pure Colour is a galaxy of a novel: explosive, celestially bright, huge, and streaked with beauty. It is a contemporary bible, an atlas of feeling, and an absurdly funny guide to the great (and terrible) things about being alive. Sheila Heti is a philosopher of modern experience, and she has reimagined what a book can hold. Here we are, just living in the first draft of Creation, which was made by some great artist, who is now getting ready to tear it apart. In this first draft of the world, a woman named Mira leaves home to study. There, she meets Annie, whose tremendous power opens Mira’s chest like a portal—to what, she doesn’t know. When Mira is older, her beloved father dies, and his spirit passes into her. Together, they become a leaf on a tree. But photosynthesis gets boring, and being alive is a problem that cannot be solved, even by a leaf. Eventually, Mira must remember the human world she’s left behind, including Annie, and choose whether or not to return.