Dorfman portrays, through visceral scenes and powerful intellect, the personal and political maelstroms underlying his migrations from Buenos Aires, on the run from Pinochet's death squads, to safe houses in Paris and Amsterdam, and eventually to America, his childhood home. The toll on Dorfman's wife and two sons, the 'earthquake of language' that is bilingualism, and his eventual questioning of his allegiance to past and party - all these crucibles of a life in exile are revealed with wry and startling honesty. Feeding on Dreams is a passionate reminder that 'we are all exiles', that we are all 'threatened with annihilation if we do not find and celebrate the refuge of common humanity', as Dorfman did during his 'decades of loss and resurrection'.

Blending fact and fiction, this darkly comic fable “may be the purest distillation yet of Mr. Ma’s talent for probing the country’s darkest corners and exposing what he regards as the Communist Party’s moral failings” (Mike Ives, The New York Times). Called “Red Guards meet Kurt Vonnegut . . . powerful!" by Margaret Atwood on Twitter, China Dream is an unflinching satire of totalitarianism. Ma Daode, a corrupt and lecherous party official, is feeling pleased with himself. He has an impressive office, three properties, and multiple mistresses who text him day and night. After decades of loyal service, he has been appointed director of the China Dream Bureau, charged with replacing people's private dreams with President Xi Jinping's great China Dream of national rejuvenation. But just as he is about to present his plan for a mass golden wedding anniversary celebration, his sanity begins to unravel. Suddenly plagued by flashbacks of the Cultural Revolution, Ma Daode's nightmare visions from the past threaten to destroy his dream of a glorious future. Exposing the damage inflicted on a nation's soul when authoritarian regimes, driven by an insatiable hunger for power, seek to erase memory, rewrite history, and falsify the truth, China Dream is a dystopian vision of repression, violence, and state–imposed amnesia that is set not in the future, but in China today.

Nineteen ninety-four marks the centennial of the death of the man George Steiner saluted as "among the the last of the pure storytellers". With public interest sure to intensify, this new biography of Robert Louis Stevenson--already praised for its insight and verve--could not be more timely.

“Impressive . . . [Cristina García’s] story is about three generations of Cuban women and their separate responses to the revolution. Her special feat is to tell it in a style as warm and gentle as the ‘sustaining aromas of vanilla and almond,’ as rhythmic as the music of Beny Moré.”—Time Cristina García’s acclaimed book is the haunting, bittersweet story of a family experiencing a country’s revolution and the revelations that follow. The lives of Celia del Pino and her husband, daughters, and grandchildren mirror the magical realism of Cuba itself, a landscape of beauty and poverty, idealism and corruption. Dreaming in Cuban is “a work that possesses both the intimacy of a Chekov story and the hallucinatory magic of a novel by Gabriel García Márquez” (The New York Times). In celebration of the twenty-fifth anniversary of the novel’s original publication, this edition features a new introduction by the author. Praise for Dreaming in Cuban “Remarkable . . . an intricate weaving of dramatic events with the supernatural and the cosmic . . . evocative and lush.”—San Francisco Chronicle “Captures the pain, the distance, the frustrations and the dreams of these family dramas with a vivid, poetic prose.”—The Washington Post “Brilliant . . . With tremendous skill, passion and humor, García just may have written the definitive story of Cuban exiles and some of those they left behind.”—The Denver Post

Mavis Gallant is the modern master of what Henry James called the international story, the fine-grained evocation of the quandaries of people who must make their way in the world without any place to call their own. The irreducible complexity of the very idea of home is especially at issue in the stories Gallant has written about Montreal, where she was born, although she has lived in Paris for more than half a century. Varieties of Exile, Russell Banks's extensive new selection from Gallant's work, demonstrates anew the remarkable reach of this writer's singular art. Among its contents are three previously uncollected stories, as well as the celebrated semi-autobiographical sequence about Linnet Muir—stories that are wise, funny, and full of insight into the perils and promise of growing up and breaking loose.