Featured in Science Fiction: The Best 100 Novels Winner of the British Science Fiction Award Nominated for the Hugo Award The “devilishly entertaining” masterpiece of hard science fiction, set in a city moving through a strange, dystopian world—from the multi-award-winning author of The Prestige (Time Out New York) The city is winched along tracks through a devastated land full of hostile tribes. Rails must be freshly laid ahead of the city and carefully removed in its wake. Rivers and mountains present nearly insurmountable challenges to the ingenuity of the city’s engineers. But if the city does not move, it will fall farther and farther behind the “optimum” into the crushing gravitational field that has transformed life on Earth. The only alternative to progress is death. The secret directorate that governs the city makes sure that its inhabitants know nothing of this. Raised in common in crèches, nurtured on synthetic food, prevented above all from venturing outside the closed circuit of the city, they are carefully sheltered from the dire necessities that have come to define human existence. And yet the city is in crisis. The people are growing restive, the population is dwindling, and the rulers know that, for all their efforts, slowly but surely the city is slipping ever farther behind the optimum. Helward Mann is a member of the city’s elite. Better than anyone, he knows how tenuous is the city’s continued existence. But the world—he is about to discover—is infinitely stranger than the strange world he believes he knows so well.

Deep in the Advanced Technique Concentration, Wentik created a mind-altering drug. Suddenly he is transported to the jungles of Brazil in the 22nd century and a world devastated by nuclear war and poison gas. Only South America survived but even here 'The Disturbances' create havoc. Can Wentik find a way back? For himself? And all of humanity?

It is hard to imagine nowadays that, for many years, France and Germany considered each other as "arch enemies." And yet, for well over a century, these two countries waged verbal and ultimately violent wars against each other. This study explores a particularly virulent phase during which each of these two nations projected certain assumptions about national character onto the other - distorted images, motivated by antipathy, fear, and envy, which contributed to the growing hostility between the two countries in the years before the First World War. Most remarkably, as the author discovered, the qualities each country ascribed to its chief adversary appeared to be exaggerated or negative versions of precisely those qualities that it perceived to be lacking or inadequate in itself. Moreover, banishing undesirable traits and projecting them onto another people was also an essential step in the consolidation of national identity. As such, it established a pattern that has become all too familiar to students of nationalism and xenophobia in recent decades. This study shows that antagonism between states is not a fact of nature but socially constructed.

Poetry. California Interest. LGBTQIA Studies. Rob Halpern's new sequence of poems speaks to social, environmental, and personal crisis--from white supremacist violence and wildfires raging just north of San Francisco, to the death of his father--all of which are tempered by the joyful birth of his daughter, whose new life offers relief in the darkness. He calls the poems "hieroglyphs" with a tip of the hat to Marx, for whom the "hieroglyphic" appearance of the world translates "the secret" of our catastrophe. But as Halpern notes, "the secret of the thing may well be that there is no secret." Here, investigation, analysis, and healing converge, as HIEROGLYPHS OF THE INVERTED WORLD tests the promise and the failure of cultural production, specifically lyric poetry, in the midst of disaster. In his afterword to the book, Halpern asks, "Can the moment arrested by the poem's burnished amber show us something we don't already know about the world?" And if not, what is the social function of the poem? Perhaps the question is unanswerable, but this book attempts a response.

Seth is a surveyor, along with his friend Theo, a leech-like creature running through his skull who tells Seth what lies to his left and right. Theo, in turn, relies on Seth for mobility, and for ordinary vision looking forwards and backwards. Like everyone else in their world, they are symbionts, depending on each other to survive. In the universe containing Seth's world, light cannot travel in all directions: there is a “dark cone” to the north and south. Seth can only face to the east (or the west, if he tips his head backwards). If he starts to turn to the north or south, his body stretches out across the landscape, and to rotate as far as north-north-east is every bit as impossible as accelerating to the speed of light. Every living thing in Seth’s world is in a state of perpetual migration as they follow the sun’s shifting orbit and the narrow habitable zone it creates. Cities are being constantly disassembled at one edge and rebuilt at the other, with surveyors mapping safe routes ahead. But when Seth and Theo join an expedition to the edge of the habitable zone, they discover a terrifying threat: a fissure in the surface of the world, so deep and wide that no one can perceive its limits. As the habitable zone continues to move, the migration will soon be blocked by this unbridgeable void, and the expedition has only one option to save its city from annihilation: descend into the unknown.

TAR FOR MORTAR offers an in-depth exploration of one of literature's greatest tricksters, Jorge Luis Borges. His short story "The Library of Babel" is a signature examplar of this playfulness, though not merely for the inverted world it imagines, where a library thought to contain all possible permutations of all letters and words and books is plumbed by pious librarians looking for divinely pre-fabricated truths. One must grapple as well with the irony of Borges's narration, which undermines at every turn its narrator's claims of the library's universality, including the very possibility of exhausting meaning through combinatory processing. Borges directed readers to his non-fiction to discover the true author of the idea of the universal library. But his supposedly historical essays are notoriously riddled with false references and self-contradictions. Whether in truth or in fiction, Borges never reaches a stable conclusion about the atomic premises of the universal library - is it possible to find a character set capable of expressing all possible meaning, or do these letters, like his stories and essays, divide from themselves in a restless incompletion? While many readers of Borges see him as presaging our digital technologies, they often give too much credit to our inventions in doing so. Those who elide the necessary incompletion of the Library of Babel compare it to the Internet on the assumption that both are total archives of all possible thought and expression. Though Borges's imaginings lend themselves to digital creativity (libraryofbabel.info is certainly evidence of this), they do so by showing the necessary incompleteness of every totalizing project, no matter how technologically refined. Ultimately, Basile nudges readers toward the idea that a fictional/imaginary exposition can hold a certain power over technology.

In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This innovative book presents more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists. Together the images and texts showcase the astonishing artistic achievements of the Latin American avant-garde. The book focuses on two decisive periods: the return from Europe in the 1920s of Latin American avant-garde pioneers; and the expansion of avant-garde activities throughout Latin America after World War II as artists expressed their independence from developments in Europe and the United States. As the authors explain, during these periods Latin American art was fueled by the belief that artistic creations could present a form of utopia - an inversion of the original premise that drove the European avant-garde - and serve as a model for