"Morejon's poetry gives us a mighty Cuba. A laughing Cuba. A determined Cuba. Walking in beauty in their country. Undefeated." -Sonia SanchezNancy Morejón, an indispensable voice in contemporary Cuban poetry, has produced a book whose core centers on the people, experience, and landscape of the city. She has said " I was born in Havana and for me the city is inside my poetic art, cities fascinate me." In Before the Mirror, The City Morejon captures the tastes and colors that give this city and its people their unique character.

A bilingual edition of poetry from an important Cuban poet.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

The wait is finally over for the third and final installment in The Passage trilogy, called "a The Stand-meets-The Road journey" by Entertainment Weekly. In the wake of the battle against The Twelve, Amy and her friends have gone in different directions. Peter has joined the settlement at Kerrville, Texas, ascending in its ranks despite his ambivalence about its ideals. Alicia has ventured into enemy territory, half-mad and on the hunt for the viral called Zero, who speaks to her in dreams. Amy has vanished without a trace. With The Twelve destroyed, the citizens of Kerrville are moving on with life, settling outside the city limits, certain that at last the world is safe enough. But the gates of Kerrville will soon shudder with the greatest threat humanity has ever faced, and Amy—the Girl from Nowhere, the One Who Walked In, the First and Last and Only, who lived a thousand years—will once more join her friends to face down the demon who has torn their world apart . . . and to at last confront their destinies.

A globetrotting, time-bending, wildly entertaining masterpiece hailed by the New York Times Book Review as "Audaciously well written...the book I was raving about to my friends before I'd even finished it." Publishers Weekly raved that "with near-universal appeal . . . Seay’s debut novel is a true delight, a big, beautiful cabinet of wonders that is by turns an ominous modern thriller, a supernatural mystery, and an enchanting historical adventure story." Set in three cities in three eras, The Mirror Thief calls to mind David Mitchell and Umberto Eco in its mix of entertainment and literary bravado. The core story is set in Venice in the sixteenth century, when the famed makers of Venetian glass were perfecting one of the old world's most wondrous inventions: the mirror. An object of glittering yet fearful fascination—was it reflecting simple reality, or something more spiritually revealing?—the Venetian mirrors were state of the art technology, and subject to industrial espionage by desirous sultans and royals world-wide. But for any of the development team to leave the island was a crime punishable by death. One man, however—a world-weary war hero with nothing to lose—has a scheme he thinks will allow him to outwit the city's terrifying enforcers of the edict, the ominous Council of Ten . . . Meanwhile, in two other Venices—Venice Beach, California, circa 1958, and the Venice casino in Las Vegas, circa today—two other schemers launch similarly dangerous plans to get away with a secret . . . All three stories will weave together into a spell-binding tour-de-force that is impossible to put down—an old-fashioned, stay-up-all-night novel that, in the end, returns the reader to a stunning conclusion in the original Venice . . . and the bedazzled sense of having read a truly original and thrilling work of art.

Bold and inventive in style, City of Night is the groundbreaking 1960s novel about male prostitution. Rechy is unflinching in his portrayal of one hustling 'youngman' and his search for self-knowledge among the other denizens of his neon-lit world. As the narrator moves from Texas to Times Square and then on to the French Quarter of New Orleans, Rechy delivers a portrait of the edges of America that has lost none of its power. On his travels, the nameless narrator meets a collection of unforgettable characters, from vice cops to guilt-ridden married men eaten up by desire, to Lance O'Hara, once Hollywood's biggest star. Rechy describes this world with candour and understanding in a prose that is highly personal and vividly descriptive.