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Cairo, 1984. A blisteringly hot summer. A young girl in a sprawling family house. Her days pass quietly: listening to a mother’s phone conversations, looking at the Nile from a bedroom window, watching the three state-sanctioned TV stations with the volume off, daydreaming about other lives. Underlying this claustrophobic routine is mystery and loss. Relatives mutter darkly about the newly-appointed President Mubarak. Everyone talks with melancholy about the past. People disappear overnight. Her own father has left, too — why, or to where, no one will say.

We meet her across three decades, from youth to adulthood: As a six-year old absorbing the world around her, filled with questions she can’t ask; as a college student and aspiring filmmaker pre-occupied with love, language, and the repression that surrounds her; and then later, in the turbulent aftermath of Mubarak’s overthrow, as a writer exploring her own past. Reunited with her father, she wonders about the silences that have marked and shaped her life.

At once a mapping of a city in transformation and a story about the shifting realities and fates of a single Egyptian family, Yasmine El Rashidi’s traces the fine line between survival and complicity, exploring the conscience of a generation raised in silence.

For 11 years, the bestselling author Linda Conrads has mystified fans by never setting foot outside her home. Haunted by the unsolved murder of her younger sister-who she discovered in a pool of blood-and the face of the man she saw fleeing the scene, Linda's hermit existence helps her cope with debilitating anxiety. But the sanctity of her oasis is shattered when she sees her sister's murderer on television. Hobbled by years of isolation, Linda resolves to use the plot of her next novel to lay an irresistible trap for the man. As the plan is set in motion and the past comes rushing back, Linda's memories — and her very sanity — are called into question. Is this man a heartless killer or merely a helpless victim?

1933–1945 m. nacistai pavogė milijonus meno kūrinių ir antikvarinių dirbinių. Pagal tiesioginį Hitlerio įsakymą plėšikauti į Europą buvo siunčiamos specialiai parengtos pajėgos. Muziejai, galerijos ir žydų šeimos buvo geidžiamas grobis. Iškiliausi darbai turėjo būti eksponuojami Hitlerio planuotame įkurti Fiurerio muziejuje, o išsigimusiu laikomas menas (entartete Kunst) sunaikintas arba parduotas už trokštamą užsienio valiutą; Daug meno kūrinių rasta po karo, bet daugiau nei šimtas tūkstančių dingo. Šie kūriniai atrasti tik pastaraisiais dešimtmečiais iškiliausiose pasaulio meno įstaigose, taip pat ir Stokholmo moderniojo meno muziejuje; „Plėšikai“ – prikaustanti istorija apie fanatišką nacistų maniją menui, taip pat apie aštrią teisinę ir moralinę kovą dėl „dingusio“ meno. Knygoje pasakojama apie milijardų vertus meno kūrinius ir palikuonių kovą už teisę į savo praeitį.<

Orgrim Schicksalshammer hat den korrupten Kriegshäuptling Blackhand vernichtet und die Führung über die Horde der Orcs übernommen. Jetzt gilt es, den Rest Azeroths niederuwerfen, damit sein Volk wieder über ein eigenes Reich herrscht.

Anduin Lothar, ehemaliger Champion Sturmwinds, hat die Überreste seiner zerstörten Heimat hinter sich gelassen und ist nun an den Gestaden Lordaerons gelandet. Dort will er, unterstützt von dem edlen König Terenas, eine mächtige Allianz mit den anderen Nationen der Menschen schmieden. Doch selbst das mag nicht ausreichen, den wütenden Ansturm der Horde zu stoppen. Elfen, Zwerge und Trolle werfen sich in den Kampf, als die beiden Heere aufeinanderprallen. Wird die Allianz den Sieg davon tragen oder wird die Horde alles in einen Strom der Dunkelheit reißen?

In Carlos Rojas’s imaginative novel, the Spanish poet Federico García Lorca, murdered by Francoist rebels in August 1936, finds himself in an inferno that somehow resembles Breughel’s Tower of Babel. He sits alone in a small theater in this private hell, viewing scenes from his own life performed over and over and over. Unexpectedly, two doppelgängers appear, one a middle-aged Lorca, the other an irascible octogenarian self, and the poet faces a nightmarish confusion of alternative identities and destinies.

Carlos Rojas uses a fantastic premise — García Lorca in hell — to reexamine the poet’s life and speculate on alternatives to his tragic end. Rojas creates with a surrealist’s eye and a moral philosopher’s mind. He conjures a profoundly original world, and in so doing earns a place among such international peers as Gabriel García Márquez, Philip Roth, J. M. Coetzee, and José Saramago.

Julia Greenfield has a problem: she's twenty-six years old and she's still a virgin. Sex ought to be easy. People have it all the time! But, without meaning to, she made it through college and into adulthood with her virginity intact. Something's got to change.

To re-route herself from her stalled life, Julia travels to spend the summer with her mysterious aunt Vivienne in North Carolina. It's not long, however, before she unearths a confounding secret — her 58 year old aunt is a virgin too. In the unrelenting heat of the southern summer, Julia becomes fixated on puzzling out what could have lead to Viv's appalling condition, all while trying to avoid the same fate.

"The burlesque echoes the greatest Spanish classics, from Quevedo to Camilo José Cela." — M. García Posada,

Roscoe T Martin set his sights on a new type of power spreading at the start of the twentieth century: electricity. It became his training, his life’s work. But when his wife, Marie, inherits her father’s failing farm, Roscoe has to give up his livelihood, with great cost to his sense of self, his marriage, and his family. Realizing he might lose them all if he doesn’t do something, he begins to use his skills as an electrician to siphon energy from the state, ushering in a period of bounty and happiness. Even the love of Marie and their child seem back within Roscoe’s grasp.

Then a young man working for the state power company stumbles on Roscoe’s illegal lines and is electrocuted, and everything changes: Roscoe is arrested; the farm once more starts to deteriorate; and Marie abandons her husband, leaving him to face his twenty-year sentence alone. Now an unmoored Roscoe must carve out a place at Kilby Prison. Climbing the ranks of the incarcerated from dairy hand to librarian to “dog boy,” an inmate who helps the guards track down escapees, he is ultimately forced to ask himself once more if his work is just that, or if the price of his crimes — for him and his family — is greater than he ever let himself believe.