"After Farewell Waltz there cannot be any doubt. Kundera is a master of contemporary literature. This novel is both an an example of virtuosity and a descent into the human soul." —L'Unite Set in an old-fashioned Central European spa town, Farewell Waltz poses the most serious questions with a blasphemous lightness that makes us see that the modern world has deprived us even of the right to tragedy. In this dark farce of a novel, eight characters are swept up in an accelerating dance: a pretty nurse and her repairman boyfriend; an oddball gynecologist; a rich American (at once saint and Don Juan); a popular trumpeter and his beautiful, obsessively jealous wife; and an disillusioned former political prisoner about to leave his country and his young woman ward. It is perhaps the most brilliantly plotted and sheer entertaining of Milan Kundera's novels. Written in Bohemia in 1969-70, the book was first published (in 1976) in France under the title La valse aux adieux (Farewell Waltz), and later in thirty-four other countries. This beautiful translation, made from the French text prepared by the novelist himself, fully reflects Kundera's own tone and intentions, and offers an opportunity for both the discovery and the rediscovery of one of the very best of a great writer's works.

WINNER OF THE LOS ANGELES TIMES BOOK PRIZE “[A] suspense-filled page-turner.” —Viet Thanh Nguyen, winner of the Pulitzer Prize for The Sympathizer "A touching portrait of two families bound together by a split-second decision.” —Attica Locke, Edgar-Award winning author of Bluebird, Bluebird A Best Book of the Year Wall Street Journal * Chicago Tribune * Buzzfeed * South Florida Sun-Sentinel * Milwaukee Journal-Sentinel * Book Riot * LitHub A powerful and taut novel about racial tensions in Los Angeles, following two families—one Korean-American, one African-American—grappling with the effects of a decades-old crime In the wake of the police shooting of a black teenager, Los Angeles is as tense as it’s been since the unrest of the early 1990s. But Grace Park and Shawn Matthews have their own problems. Grace is sheltered and largely oblivious, living in the Valley with her Korean-immigrant parents, working long hours at the family pharmacy. She’s distraught that her sister hasn’t spoken to their mother in two years, for reasons beyond Grace’s understanding. Shawn has already had enough of politics and protest after an act of violence shattered his family years ago. He just wants to be left alone to enjoy his quiet life in Palmdale. But when another shocking crime hits LA, both the Park and Matthews families are forced to face down their history while navigating the tumult of a city on the brink of more violence.

Translating Milan Kundera uses new archival research to view the wider cultural scope of the translation issue involving the controversies surrounding Kundera’s translated novels. It focuses on the language of the novels, Kundera’s ‘lost’ works, writing as translation, interpretation, exile, censorship and the social responses to translated fiction in the Anglophone world.

Shirley Jackson meets The Virgin Suicides, set at an all-girls orphanage.

In 2015 University Press of Mississippi published Mississippi Fiddle Tunes and Songs from the 1930s by Harry Bolick and Stephen T. Austin to critical acclaim and commercial success. Roughly half of Mississippi’s rich, old-time fiddle tradition was documented in that volume and Harry Bolick has spent the intervening years working on this book, its sequel. Beginning with Tony Russell’s original mid-1970s fieldwork as a reference, and later working with Russell, Bolick located and transcribed all of the Mississippi 78 rpm string band recordings. Some of the recording artists like the Leake County Revelers, Hoyt Ming and His Pep Steppers, and Narmour & Smith had been well known in the state. Others, like the Collier Trio, were obscure. This collecting work was followed by many field trips to Mississippi searching for and locating the children and grandchildren of the musicians. Previously unheard recordings and stories, unseen photographs and discoveries of nearly unknown local fiddlers, such as Jabe Dillon, John Gatwood, Claude Kennedy, and Homer Grice, followed. The results are now available in this second, companion volume, Fiddle Tunes from Mississippi: Commercial and Informal Recordings, 1920–2018. Two hundred and seventy musical examples supplement the biographies and photographs of the thirty-five artists documented here. Music comes from commercial recordings and small pressings of 78 rpm, 45 rpm, and LP records; collectors’ field recordings; and the musicians’ own home tape and disc recordings. Taken together, these two volumes represent a delightfully comprehensive survey of Mississippi’s fiddle tunes.

A rogue, a megalomaniac, a plodder, and a depressive: the men whose previously unpublished diaries are collected in this volume were four very different characters. But they had much in common too. All were from the Deep South. All were young, between seventeen and twenty-five. All had a connection to cotton and slaves. Most obviously, all were diarists, enduring night upon night of cramped hands and candle bugs to write out their lives. Down the furrows of their fathers' farms, through the thickets of their local woods, past the familiar haunts of their youth, Harry Dixon, Henry Hughes, John Coleman, and Henry Craft arrive at manhood via journeys they narrate themselves. All would be swept into the Confederate Army, and one would die in its service. But if their manhood was tested in the war, it was formed in the years before, when they emerged from their swimming holes, sopping with boyhood, determined to become princes among men. Few books exist about the inner lives of southern males, especially those in adolescence and early adulthood. Princes of Cotton begins to remedy this shortage. These diaries, along with Stephen Berry's introduction, address some of the central questions in the study of southern manhood: how masculine ideals in the Old South were constructed and maintained; how males of different ages and regions resisted, modified, or flouted those ideals; how those ideals could be expressed differently in public and private; and how the Civil War provoked a seismic shift in southern masculinity.

From A to Z to middle C: An “essential reference” for piano students, teachers, players, and music lovers, with hundreds of definitions (E.L. Lancaster, Alfred Music). The Pianist’s Dictionary is a handy and practical reference dictionary aimed specifically at pianists, teachers, students, and concertgoers. Prepared by Maurice Hinson and Wesley Roberts, this revised and expanded edition is a compendium of information gleaned from a combined century of piano teaching. Users will find helpful and clear definitions of musical and pianistic terms, performance directions, composers, pianists, famous piano pieces, and piano makers. The authors’ succinct entries make The Pianist’s Dictionary the perfect reference for compiling program and liner notes, studying scores, and learning and teaching the instrument. “This new edition is a go-to source for piano scholars and students for quick information on musical terms, pianists, major works in the piano repertoire, piano manufacturers, and more . . . comprehensive, easy to use.” —Jane Magrath, University of Oklahoma