“Startling and astringently poetic.” —The New York Times A literary discovery: an extraordinary account, in the tradition of The House on Mango Street and Angela’s Ashes, of a Colombian woman’s harrowing childhood This astonishing memoir was hailed as an instant classic when first published in Colombia in 2012, nearly a decade after the death of its author, who was encouraged in her writing by Gabriel García Márquez. Comprised of letters written over the course of thirty years, and translated and introduced by acclaimed writer Daniel Alarcón, it describes in vivid, painterly detail the remarkable courage and limitless imagination of a young girl growing up with nothing. Emma Reyes was an illegitimate child, raised in a windowless room in Bogotá with no water or toilet and only ingenuity to keep her and her sister alive. Abandoned by their mother, she and her sister moved to a Catholic convent housing 150 orphan girls, where they washed pots, ironed and mended laundry, scrubbed floors, cleaned bathrooms, sewed garments and decorative cloths for the nuns—and lived in fear of the Devil. Illiterate and knowing nothing of the outside world, Emma escaped at age nineteen, eventually establishing a career as an artist and befriending the likes of Frida Kahlo and Diego Rivera as well as European artists and intellectuals. The portrait of her childhood that emerges from this clear-eyed account inspires awe at the stunning early life of a gifted writer whose talent remained hidden for far too long. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,800 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

“Startling and astringently poetic.” —The New York Times An extraordinary account, in the tradition of The House on Mango Street, Child of the Dark, and Angela’s Ashes, of a Colombian woman’s harrowing childhood defined by uprootedness and migration Emma Reyes was an illegitimate child, raised in a windowless room in Bogotá with no water or toilet and only ingenuity to keep her and her sister alive. Abandoned by her mother, she moved with her sister to a Catholic convent, where she scrubbed floors and mended garments for the nuns—and lived in fear of the Devil. Illiterate and knowing nothing of the outside world, she escaped at age nineteen, eventually establishing a career as an artist, befriending the likes of Frida Kahlo and Diego Rivera as well as European artists and intellectuals, and being encouraged in her writing by Gabriel García Márquez. Comprised of letters written over the course of thirty years, this astonishing memoir describes in painterly detail the remarkable courage and limitless imagination of a young girl growing up with nothing. Discovered only after Reyes’s death, it reveals a gifted writer whose talent remained hidden for far too long. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,800 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

LONGLISTED for the 2017 NATIONAL BOOK AWARD FOR FICTION An urgent, essential collection of stories about immigration, broken dreams, Los Angeles gang members, Latin American families, and other tales of high stakes journeys, from the award-winning author of War by Candlelight and At Night We Walk in Circles. Migration. Betrayal. Family secrets. Doomed love. Uncertain futures. In Daniel Alarcón's hands, these are transformed into deeply human stories with high stakes. In "The Thousands," people are on the move and forging new paths; hope and heartbreak abound. A man deals with the fallout of his blind relatives' mysterious deaths and his father's mental breakdown and incarceration in "The Bridge." A gang member discovers a way to forgiveness and redemption through the haze of violence and trauma in "The Ballad of Rocky Rontal." And in the tour de force novella, "The Auroras", a man severs himself from his old life and seeks to make a new one in a new city, only to find himself seduced and controlled by a powerful woman. Richly drawn, full of unforgettable characters, The King is Always Above the People reveals experiences both unsettling and unknown, and yet eerily familiar in this new world.

One of the biggest stumbling blocks we hit when setting out to make our dreams come true is appreciating what is going well. Most of us have an unfortunate tendency to dwell on the problems rather than on the good things in our lives ... and then we wonder why things just seem to keep getting worse instead of better. In The Power of Appreciation in Everyday Life, psychologist Noelle Nelson explains how you can achieve success in every area of your life through transforming your beliefs with appreciation.

In Learning to be Latino, Reyes paints a vivid picture of Latino student life, outlining students' interactions with one another, with non-Latino peers, and with faculty, administrators, and the outside community. Reyes identifies the normative institutional arrangements that shape the social relationships relevant to Latino students' lives on these campuses.

An extraordinary memoir--told entirely in near-death experiences--from one of Britain's bestselling novelists, as she reminds us that we are never closer to life than when we brush up against the possibility of death. I Am, I Am, I Am is Maggie O'Farrell's astonishing memoir of the near-death experiences that have punctuated and defined her life. The childhood illness that left her in the hospital for nearly a year, which she was not expected to survive. A teenage yearning to escape that nearly ended in disaster. An encounter with a serial killer on a remote path. And, most terrifying of all, an ongoing, daily struggle to protect her daughter from a condition that leaves her unimaginably vulnerable to life's myriad dangers. Seventeen discrete encounters with Maggie at different ages, in different locations, reveal a whole life in a series of tense, visceral snapshots. In taut prose that vibrates with electricity and a restrained emotion, O'Farrell captures the perils running just beneath the surface, and illuminates the preciousness, beauty and mysteries of life itself.

The unlikely hero of His Only Son, Bonifacio Reyes, is a romantic and a flautist by vocation—and a failed clerk and kept husband by necessity—who dreams of a novelesque life. Tied to his shrill and sickly wife by her purse strings, he enters timidly into a love affair with Serafina, a seductive second-rate opera singer, encouraged by her manager who mistakes Bonifacio for a potential patron. Meanwhile, Bonifacio’s wife experiences a parallel awakening and in the midst of a long-barren marriage, surprises them both with a son—but is it Bonifacio’s? In the accompanying novella, Doña Berta, the heroine of the title, an aged, poor, but well-born woman, forfeits her beloved estate in search of a portrait that may be all that remains of the secret love of her life. While largely unknown outside of Spain, Leopoldo Alas was one of the most celebrated writers of criticism in nineteenth-century Spain and employed his satirical talents to powerful and humorous effect in fiction. His Only Son was Alas’s second and final novel, full of characteristic humor, naturalistic detail, descriptive beauty, and moral complexity. His frail and pitiful characters—irrational, emotional actors drawn inexorably toward their foolish fates—are yet multidimensional individuals, often conscious of their own weaknesses and stymied by their very yearnings to be more than the parts they find themselves playing.