One World Two is the eagerly awaited follow-up to One World and another globe-trotting collection of stories. But it is more than simply an anthology of short fiction, as it contains representative literature from all over the world, conveying the reader on thought-provoking journeys across continents, cultures and landscapes. One World Two is even more ambitious than Volume One in its geographic scope, featuring twenty-one writers drawn from every continent. Most of the stories are unique to this volume, while others are appearing for the first time in English (Egypt's Mansoura Ez-Eldin and Brazil's Vanessa Barbara). The themes and writing styles are as richly diverse as their writers' origins. The collection is built around a loose theme of building bridges. It is interested in the human condition as a dynamic central line linking individuals, cultures and experiences: east and west, north and south, and, perhaps most importantly, past, present and future. This book features established stars such as Edwidge Danticat (Breath, Eyes, Memory), Viet Thanh Nguyen (The Sympathizer) and Aminatta Forna (The Hired Man) and authors who are steadily building a reputation such as Fan Wu, Ana Menéndez and Daniel Alarcon. In order of appearance, the authors are: Yewande Omotoso, Viet Thanh Nguyen, Heidi North-Bailey, Ana Menéndez, Mathew Howard, Okwiri Oduor, Desiree Bailey, Vamba Sherif, Alice Melike Ulgezer, Daniel Alarcon, Mansoura Ez-Eldin, Aminatta Forna, Nahid Rachlin, Samuel Munene, Vanessa Barbara, Ret'sepile Makamane, Fan Wu, Olufemi Terry, Balli Kaur Jaswal, Chris Brazier, and Edwidge Danticat. Edited and compiled by Ovo Adagha and Chris Brazier.

A collection of twenty-three short stories from around the world includes contributions by such authors as Nigeria's Chimamanda Ngozi Adichie, India's Lucinda Nelson Dhavan, and Botswana's Lauri Kubuitsile.

"This book is truly epic. . . . The reader will probably wish there was a thousand more pages." —The Huffington Post Picking up where Fall of Giants, the first novel in the extraordinary Century Trilogy, left off, Winter of the World follows its five interrelated families—American, German, Russian, English, and Welsh—through a time of enormous social, political, and economic turmoil, beginning with the rise of the Third Reich, through the great dramas of World War II, and into the beginning of the long Cold War. Carla von Ulrich, born of German and English parents, finds her life engulfed by the Nazi tide until daring to commit a deed of great courage and heartbreak . . . . American brothers Woody and Chuck Dewar, each with a secret, take separate paths to momentous events, one in Washington, the other in the bloody jungles of the Pacific . . . . English student Lloyd Williams discovers in the crucible of the Spanish Civil War that he must fight Communism just as hard as Fascism . . . . Daisy Peshkov, a driven social climber, cares only for popularity and the fast set until war transforms her life, while her cousin Volodya carves out a position in Soviet intelligence that will affect not only this war but also the war to come.

A revealing pairing of two great southern creators

In this study, Rebecca Suter aims to complicate our understanding of world literature by examining the creative and critical deployment of cultural stereotypes in the early novels of Kazuo Ishiguro. “World literature” has come under increasing scrutiny in recent years: Aamir Mufti called it the result of “one-world thinking,” the legacy of an imperial system of cultural mapping from a unified perspective. Suter views Ishiguro’s fiction as an important alternative to this paradigm. Born in Japan, raised in the United Kingdom, and translated into a broad range of languages, Ishiguro has throughout his career consciously used his multiple cultural positioning to produce texts that look at broad human concerns in a significantly different way. Through a close reading of his early narrative strategies, Suter explains how Ishiguro has been able to create a “two-world literature” that addresses universal human concerns and avoids the pitfalls of the single, Western-centric perspective of “one-world vision.” Setting his first two novels, A Pale View of Hills (1982) and An Artist of the Floating World (1986), in a Japan explicitly used as a metaphor enabled Ishiguro to parody and subvert Western stereotypes about Japan, and by extension challenge the universality of Western values. This subversion was amplified in his third novel, The Remains of the Day (1989), which is perfectly legible through both English and Japanese cultural paradigms. Building on this subversion of stereotypes, Ishiguro’s early work investigates the complex relationship between social conditioning and agency, showing how characters’ behavior is related to their cultural heritage but cannot be reduced to it. This approach lies at the core of the author’s compelling portrayal of human experience in more recent works, such as Never Let Me Go (2005) and The Buried Giant (2015), which earned Ishiguro a global audience and a Nobel Prize. Deprived of the easy explanations of one-world thinking, readers of Ishiguro’s two-world literature are forced to appreciate the complexity of the interrelation of individual and collective identity, personal and historical memory, and influence and agency to gain a more nuanced, “two-world appreciation” of human experience.

From one of the original masters of romance, "New York Times"-bestselling author Small invites readers back to the magical, sensual world of Hetar. Reissue.