When Tom Rodwell embarked on a cricketing tour of India, he had only ever thought of the game as great fun. But the simple joy of the local street kids when his team donated their kit to them made him realise that it could be more than that. By turns touching and amusing, and imbued with a deep love of the game, Third Man in Havana is the story of the charity cricket programmes 'Major' Tom Rodwell has helped run around the world, and of the people he has encountered along the way. From Be'er Sheva Cricket Club pavilion in Israel – a converted nuclear bomb shelter, useful in the face of Hamas' regular rocket attacks – to a game of tapeball cricket with ex-Tamil Tiger child soldiers behind barbed wire in Sri Lanka, Rodwell discovered that the heart of the game is beating fast in countries more used to conflict than cricket. Third Man in Havana is a wonderfully positive story, revealing that the spirit of cricket is alive and well.

When U.S. immigration authorities deported Graham Greene from Puerto Rico in 1954, the British author made an unplanned visit to Havana and the former MI6 officer had stumbled upon the ideal setting for a comic espionage story. Three years later, he returned in the midst of Castro’s guerrilla insurgency against a U.S.-backed dictator to begin writing his iconic novel Our Man in Havana. Twelve weeks after its publication, in January 1959, the Cuban Revolution triumphed, soon transforming a capitalist playground into a communist stronghold.Combining biography, history, politics, and a measure of psychoanalysis, Our Man Down in Havana investigates the real story behind Greene’s fiction. It includes his many visits to a pleasure island that became a revolutionary island, turning his chance involvement into a political commitment. His Cuban novel describes an amateur agent who dupes his intelligence chiefs with invented reports about “concrete platforms and unidentifiable pieces of giant machinery.” With eerie prescience, Greene’s satirical tale had foretold the Cold War’s most perilous episode, the 1962 Cuban Missile Crisis.

When Heinz Lüning posed as a Jewish refugee to spy for Hitler’s Abwehr espionage agency, he thought he had discovered the perfect solution to his most pressing problem: how to avoid being drafted into Hitler’s army. Lüning was unsympathetic to Fascist ideology, but the Nazis’ tight control over exit visas gave him no chance to escape Germany. He could enter Hitler’s army either as a soldier . . . or a spy. In 1941, he entered the Abwehr academy for spy training and was given the code name “Lumann.” Soon after, Lüning began the service in Cuba that led to his ultimate fate of being the only German spy executed in Latin America during World War II. Lüning was not the only spy operating in Cuba at the time. Various Allied spies labored in Havana; the FBI controlled eighteen Special Intelligence Service operatives, and the British counterintelligence section subchief Graham Greene supervised Secret Intelligence Service agents; and Ernest Hemingway’s private agents supplied inflated and inaccurate information about submarines and spies to the U.S. ambassador, Spruille Braden. Lüning stumbled into this milieu of heightened suspicion and intrigue. Poorly trained and awkward at his work, he gathered little information worth reporting, was unable to build a working radio and improperly mixed the formulas for his secret inks. Lüning eventually was discovered by British postal censors and unwittingly provided the inspiration for Graham Greene’s Our Man in Havana. In chronicling Lüning’s unlikely trajectory from a troubled life in Germany to a Caribbean firing squad, Thomas D. Schoonover makes brilliant use of untapped documentary sources to reveal the workings of the famed Abwehr and the technical and social aspects of Lüning’s spycraft. Using archival sources from three continents, Schoonover offers a narrative rich in atmospheric details to reveal the political upheavals of the time, not only tracking Lüning’s activities but also explaining the broader trends in the region and in local counterespionage. Schoonover argues that ambitious Cuban and U.S. officials turned Lüning’s capture into a grand victory. For at least five months after Lüning’s arrest, U.S. and Cuban leaders—J. Edgar Hoover, Fulgencio Batista, Nelson Rockefeller, General Manuel Benítez, Ambassador Spruille Braden, and others—treated Lüning as a dangerous, key figure for a Nazi espionage network in the Gulf-Caribbean. They reworked his image from low-level bumbler to master spy, using his capture for their own political gain. In the sixty years since Lüning’s execution, very little has been written about Nazi espionage in Latin America, partly due to the reticence of the U.S. government. Revealing these new historical sources for the first time, Schoonover tells a gripping story of Lüning’s life and capture, suggesting that Lüning was everyone’s man in Havana but his own.

A broad selection of Graham Greene's masterful short stories, including Cold War classic novella, The Third Man. Rollo Martins, a failing novelist, is invited to Vienna by his best friend, Harry Lime. The city he arrives in is unrecognisable -- torn apart by the Second World War and shared between the occupying Allies. What's more, Harry is dead, and the circumstances look suspicious... Determined to uncover the truth, Martins must pick through the rubble of this broken city in search of answers.

"[A] future cult classic." —The New York Times Book Review "There’s Borges and Bolaño, Kafka and Cortázar, Modiano and Murakami, and now Laura van den Berg." —The Washington Post Finalist for the NYPL Young Lions Award. Named a Best Book of 2018 by The Boston Globe, Huffington Post, Electric Literature and Lit Hub. An August 2018 IndieNext Selection. Named a Summer 2018 Read by The Washington Post, Vulture, Nylon, Elle, BBC, InStyle, Refinery29, Bustle, O, the Oprah Magazine, Entertainment Weekly, Harper's Bazaar, Conde Nast Traveler, Southern Living, Lit Hub, and Vol. 1 Brooklyn. In Havana, Cuba, a widow tries to come to terms with her husband’s death—and the truth about their marriage—in Laura van den Berg’s surreal, mystifying story of psychological reflection and metaphysical mystery. Shortly after Clare arrives in Havana, Cuba, to attend the annual Festival of New Latin American Cinema, she finds her husband, Richard, standing outside a museum. He’s wearing a white linen suit she’s never seen before, and he’s supposed to be dead. Grief-stricken and baffled, Clare tails Richard, a horror film scholar, through the newly tourist-filled streets of Havana, clocking his every move. As the distinction between reality and fantasy blurs, Clare finds grounding in memories of her childhood in Florida and of her marriage to Richard, revealing her role in his death and reappearance along the way. The Third Hotel is a propulsive, brilliantly shape-shifting novel from an inventive author at the height of her narrative powers.

A survivor of the Cuban Revolution recounts his pre-war childhood as the religiously devout son of a judge, and describes the conflict's violent and irrevocable impact on his friends, family, and native home.

“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