"This edition originally published in paperback in 1958 by Hill and Wang"--T.p. verso.

For countless millennia, the dwarves of the have defended the stone gateway into Girdlegard. Many and varied foes have hurled themselves against the portal and died attempting to breach it. No man or beast has ever succeeded. Until now. . . Abandoned as a child, Tungdil the blacksmith labors contentedly in the land of Ionandar, the only dwarf in a kingdom of men. Although he does not want for friends, Tungdil is very much aware that he is alone -- indeed, he has not so much as set eyes on another dwarf. But all that is about to change. Sent out into the world to deliver a message and reacquaint himself with his people, the young foundling finds himself thrust into a battle for which he has not been trained. Not only his own safety, but the life of every man, woman and child in Girdlegard depends upon his ability to embrace his heritage. Although he has many unanswered questions, Tungdil is certain of one thing: no matter where he was raised, he is a true dwarf. And no one has ever questioned the courage of the Dwarves.

The dark side of South Korea’s "economic miracle" emerges in The Dwarf, Cho Se-hui’s enormously popular and critically acclaimed work. First published in 1978, it speaks to the painful social costs of reckless industrialization, even as it tellingly portrays the spiritual malaise of the newly rich and powerful and a working class subject to forces beyond its control. Cho’s lean, clipped, deceptively simple style, the rapidly shifting points of view, terse dialogue, and subtle irony evoke the particularities of life in 1970s South Korea in the presence of global economic forces. The desperate realities of life for the dwarf, the proverbial little guy upon whose back Korea’s economic transformation largely took place, are emotively rendered in twelve linked stories examining the lives of a laboring family, a family of the newly emerging middle class, and that of a wealthy industrialist. The stories have overlapping characters and situations: the murder of a swindler, a family’s eviction from a squatter settlement, the assassination of an important executive, the dwarf ’s fantasy of a planet where life is easier, his later suicide and the subsequent fate of his dispersed friends and family members.

Third in the medieval fantasy series. “A perfectly delicious, not entirely serious, reimagining of part of Thomas Malory’s Le Morte d’Arthur.”—Booklist Her castle under siege by an evil knight who keeps beheading all her would-be rescuers, Lady Lynet realizes the only way to get help is to get it herself. So one night she slips away and strikes out for King Arthur’s court where she hopes to find a gallant knight to vanquish the Knight of the Red Lands and free her castle. Gerald Morris’s Arthurian novel is a highly comic tale of hidden identities, mysterious knights, faeries and enchantments, damsels-in-distress, and true love. “In Morris’s third wry, sometimes hilarious, take on an Arthurian legend, a sharp-tongued young damosel gets an education in sorcery, intrigue and what true knighthood is all about . . . Fans of Gail Carson Levine’s Ella Enchanted, Patricia Wrede’s Enchanted Forest Chronicles and similarly lighthearted fantasy will be delighted.”—Kirkus Reviews “A rollicking treatment of a lesser-known episode from Sir Thomas Malory’s Le Morte d’Arthur . . . The novel is also enjoyable for its good-natured spoofing of the conventions of its medieval setting.”—School Library Journal “A rare action-fantasy that crosses age and gender lines.”—The Bulletin

Arzee the dwarf had a dream, and now that dream has come true. Arzee has just been crowned as head projectionist at the Noor, the Bombay cinema where he has been working since his teens. The Noor's vast, encircling darkness, the projection room's invisible perch above the vault of the cinema on one side and the bustle of south Bombay on the other, the grand illusion-making of the great beam: these riches are what give Arzee the power and the heft that his own body does not possess. Arzee is sure that the worst of his troubles are behind him, and that he can now marry and settle down -- even if his wife is someone his fond mother has had to scout for him. But not for the first time, Arzee has it all wrong! The Noor is about to be closed down, taking away to its grave all his hopes of this world and his walls against it. A new darkness threatens, more sinister than the comforting womb-night of the Noor. Arzee knows he will be crushed by that new cycle of rage and impotence, all these added to the perpetual indignity of walking face-to-face with "the crotches and asses of this world". Arzee the Dwarf follows Arzee over two weeks, setting off Arzee's frenzied plotting and pleading against the beating and pulsing of the great city around him. The narration vividly brings to life not just the protagonist, but also a host of characters to whom Arzee turns in his hour of need: the departing head projectionist Phiroz, the sneering faux-gangster Deepak, the poetical taxi-driver Dashrath Tiwari, the enigmatic hairdresser Monique, and the garrulous and homely Shireen. Can Arzee fight off all the forces that menace his world, or will the vast city that he loves succeed in crushing him? Chandrahas Choudhury's bittersweet comedy, selected by World Literature Today as one of 60 essential works of modern Indian literature in English, is a novel about the strange beauty of human dreaming.

A lavishly illustrated journey into the world of legend's most elusive people in the tradition of J.R.R. Tolkien's Lord of the Rings. An extraordinary exploration of a remarkable civilization that will enchant and enthrall all who delve into its pages. A recently discovered archaeological find provides a wealth of knowledge on the heretofore unknown life and habits of Dwarfs in all their day-to-day activities. Close examination is provided of their lives in everything from metalworking technologies to constructing underground dwellings and tunnels. Additionally, insight is offered into the general hierarchy of the population, from lowly laborers to their kings and ruling class.

One of our most daring intellectuals offers a Lacanian interpretation of religion, finding that early Christianity was the first revolutionary collective. Slavoj Žižek has been called "an academic rock star" and "the wild man of theory"; his writing mixes astonishing erudition and references to pop culture in order to dissect current intellectual pieties. In The Puppet and the Dwarf he offers a close reading of today's religious constellation from the viewpoint of Lacanian psychoanalysis. He critically confronts both predominant versions of today's spirituality—New Age gnosticism and deconstructionist-Levinasian Judaism—and then tries to redeem the "materialist" kernel of Christianity. His reading of Christianity is explicitly political, discerning in the Pauline community of believers the first version of a revolutionary collective. Since today even advocates of Enlightenment like Jurgen Habermas acknowledge that a religious vision is needed to ground our ethical and political stance in a "postsecular" age, this book—with a stance that is clearly materialist and at the same time indebted to the core of the Christian legacy—is certain to stir controversy.