"Wrenching . . . powerfully sensuous." — New York Times "As searing and unforgettable as an electric shock." —Kirkus Reviews At the age of eight Brian Lackey is found bleeding under the crawl space of his house, having endured something so traumatic that he cannot remember an entire five–hour period of time. During the following years he slowly recalls details from that night, but these fragments are not enough to explain what happened to him, and he begins to believe that he may have been the victim of an alien encounter. Neil McCormick is fully aware of the events from that summer of 1981. Wise beyond his years, curious about his developing sexuality, Neil found what he perceived to be love and guidance from his baseball coach. Now, ten years later, he is a teenage hustler, unaware of the dangerous path his life is taking. His recklessness is governed by idealized memories of his coach, memories that unexpectedly change when Brian comes to Neil for help and, ultimately, the truth.

Borrowing its title from Gregg Araki's 2005 film, in which the camera's contemplation of the male body encourages us to feel that body, and covering a broad span of subjects and films, "Mysterious Skin" offers a wider, more representative picture of the depiction of the male body in contemporary world cinemas than has hitherto been attempted. An international array of major experts explore the treatment of masculinity and the male body in the cinemas of Africa, Australia, China, France, Germany, Great Britain, India, North America, Spain, Taiwan and Vietnam, as well as Hollywood.Their common concern is to reveal how the representation of the male body is used in films to convey a country's anxieties about its national identity and history, as well as how it engages with questions of racial, sexual or gender politics. They discuss key actors, directors and films of these countries, from Ewan MacGregor in Peter Greenaway's "The Pillow Book", through the films of Wong Kar Wai, to Paul Hogan as Mick Dundee in "Crocodile Dundee". In so doing, "Mysterious Skin" also provides a strong overview of important cinema produced around the world in the last twenty years.

“We Disappear is a mystery concerning the identity of a teenage boy and the people he draws into his web of half-truths. . . . It’s not hyperbole to suggest that We Disappear is the eeriest Kansas-set story since Truman Capote’s In Cold Blood." — Chicago Sun-Times A dark and compelling novel of addiction, obsession, love, and family from the acclaimed author of Mysterious Skin The body of a teenage boy is discovered in a Kansas field. The murder haunts Donna—a recent widow battling cancer—calling forth troubling details from long-suppressed memories of her past. Hoping to discover more about "disappeared" people, she turns to her son, Scott, who is fighting demons of his own. Addicted to methamphetamines and sleeping pills, Scott is barely holding on—though the chance to help his mother in her strange and desperate search holds out a slim promise of some small salvation. But what he finds is a boy named Otis handcuffed in a secret basement room, and the questions that arise seem too disturbing even to contemplate. With his mother's health rapidly deteriorating, Scott must surrender to his own obsession, and unravel Otis's unsettling connections to other missing teens . . . and, ultimately, to himself.

WINNER OF: Frantz Fanon Outstanding Book from the Caribbean Philosophical Association Canadian Political Science Association’s C.B. MacPherson Prize Studies in Political Economy Book Prize Over the past forty years, recognition has become the dominant mode of negotiation and decolonization between the nation-state and Indigenous nations in North America. The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources. In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism. Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power. In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

Invited to protect an actress within the rose red walls of a fairy-tale castle, Detective Cordelia Gray finds the stage is set for death. Actress Clarissa Lisle has always been famous for her ravishing beauty—and her unscrupulous manipulations. Now on the death-shrouded island of Courcy, her schemes win her a starring role in a nightmare in which she can trust no one—not her deceived husband; her dangerously insecure stepson; her ominously genial host; her dependent, desperate cousin; or her cruelly amusing ex-lover. Soon Detective Cordelia gray finds that nothing is as it seems on Courcy—especially after the curtain goes down. Here she must delve into ancient secrets and guilt-stained pasts—and risk her life to stop a brilliantly cunning murderer who has set the stage for her death.

In Awe, Scoff Heim's second novel, follows the lives of three outcasts who, during the course of one rain-soaked autumn, find themselves the target of an onslaught of terror and violence. Sarah, thirty-two, is a clerk in a convenience store with a string of part-time boyfriends; Harriet is a frail, birdlike woman of sixty-two whose son, Marshall - Sarah's best friend - has recently died; and Boris is a seventeen-year-old orphan who lives in the local detention center and dreams of writing the ultimate zombie novel. This unlikely trio is united by their love for one another, their freakishness in relation to their conservative Kansas backwater, and their rich fantasy lives. Harriet immerses herself in the serenity of her farm as she grapples with the reality of her son's death, while Sarah dreams of being a heroine in the B horror films she loves. And Boris dreams of Rex, the beautiful but savage redneck who is the center of a lethal pack of teenage boys. But these fantasy lives increasingly blur into the real, potentially dangerous world around them. Sarah's car is defaced with graffiti; two local coeds turn up raped and murdered near the river; someone is prowling in the bushes outside Harriet's and Sarah's houses; Boris is beaten and humiliated at school. How these three friends respond to the terror both within and around them forms the core of Scott Heim's riveting story and leads the novel to its brutal and startling conclusion.

Borrowing its title from Gregg Araki's 2005 film, in which the camera's contemplation of the male body encourages us to feel that body, and covering a broad span of subjects and films, "Mysterious Skin" offers a wider, more representative picture of the depiction of the male body in contemporary world cinemas than has hitherto been attempted. An international array of major experts explore the treatment of masculinity and the male body in the cinemas of Africa, Australia, China, France, Germany, Great Britain, India, North America, Spain, Taiwan and Vietnam, as well as Hollywood.Their common concern is to reveal how the representation of the male body is used in films to convey a country's anxieties about its national identity and history, as well as how it engages with questions of racial, sexual or gender politics. They discuss key actors, directors and films of these countries, from Ewan MacGregor in Peter Greenaway's "The Pillow Book", through the films of Wong Kar Wai, to Paul Hogan as Mick Dundee in "Crocodile Dundee". In so doing, "Mysterious Skin" also provides a strong overview of important cinema produced around the world in the last twenty years.