A true-life Catch-22 set in the deeply dysfunctional countries of Afghanistan and Pakistan, by one of the region’s longest-serving correspondents. Kim Barker is not your typical, impassive foreign correspondent—she is candid, self-deprecating, laugh-out-loud funny. At first an awkward newbie in Afghanistan, she grows into a wisecracking, seasoned reporter with grave concerns about our ability to win hearts and minds in the region. In The Taliban Shuffle, Barker offers an insider’s account of the “forgotten war” in Afghanistan and Pakistan, chronicling the years after America’s initial routing of the Taliban, when we failed to finish the job. When Barker arrives in Kabul, foreign aid is at a record low, electricity is a pipe dream, and of the few remaining foreign troops, some aren’t allowed out after dark. Meanwhile, in the vacuum left by the U.S. and NATO, the Taliban is regrouping as the Afghan and Pakistani governments floun­der. Barker watches Afghan police recruits make a travesty of practice drills and observes the disorienting turnover of diplomatic staff. She is pursued romantically by the former prime minister of Pakistan and sees adrenaline-fueled col­leagues disappear into the clutches of the Taliban. And as her love for these hapless countries grows, her hopes for their stability and security fade. Swift, funny, and wholly original, The Taliban Shuffle unforgettably captures the absurdities and tragedies of life in a war zone.

Global Tangos: Travels in the Transnational Imaginary argues against the hackneyed rose-in-mouth clichés of Argentine tango, demonstrating how the dance may be used as a way to understand transformations around the world that have taken place as a result of two defining features of globalization: transnationalism and the rise of social media. Global Tangos demonstrates the cultural impact of Argentine tango in the world by assembling an unusual array of cultural narratives created in almost thirty countries, all of which show how tango has mixed and mingled in the global imaginary, sometimes in wildly unexpected forms. Topics include Tango Barbie and Ken, advertising for phone sex, the presence of tango in political upheavals in the Middle East and in animated Japanese children’s television programming, gay tango porn, tango orchestras and composers in World War II concentration camps, global tango protests aimed at reclaiming public space, the transformation of Buenos Aires as a result of tango tourism, and the use of tango for palliative care and to treat other ailments. They also include the global development of queer tango theory, activism, and festivals. Global Tangos shows how the rise in social media has heralded a new era of political activism, artistry, solidarity, and engagement in the world, one in which virtual global tango communities have indeed become very “real” social and support networks. The text engages some key concepts from contemporary critics in the fields of tourism studies, geography, dance studies, cultural anthropology, literary studies, transnational studies, television studies, feminism, and queer theory. Global Tangos underscores the interconnectedness of cultural identity, economics, politics, and power in the production, marketing, distribution, and circulation of global images related to tango—and, by extension, Latin America—that travel the world.

Bruno Cadogan has flown from New York to Buenos Aires in search of the elusive and legendary Julio Martel, a tango singer whose voice has never been recorded yet is said to be so beautiful it is almost supernatural. Bruno is increasingly drawn to the mystery of Martel and his strange and evocative performances in a series of apparently arbitrary sites around the city. As Bruno tries to find Martel, he begins to untangle the story of the singer's life, and to believe that Martel's increasingly rare performances map a dark labyrinth of the city's past.

David, Mary and Jenny start to wonder about Danika, Finn and Robb, unaware that their friends disappeared near the burned remains of Marjory House. After a single day on Houkura, Finn, Danika and Robb discover a world of magic and unheard of mystical creatures.Their confrontation with the dark mage Boltza made them realise that it was more important to bring Boltza to justice for Arcken and Gryff than to try to find a way back to Earth. But before they can seek help from the Ryder People, Gredat succumbs to the Catarbie illness, and the Lousham make a sudden appearance, at Finn's expense. Without prior experience dealing with evil magic wielders, the group realises that their only chance of defeating the dark mage lies with the help of the Tcholla. Elsewhere on Houkura, Tarheen believes he killed his parents. Enduring various forms of torture from an unknown sadistic dark mage, he is unaware that Krysta and Zoltan have survived and are tracking him.

Born on the unlit streets of Buenos Aires, tango was inspired by the music of European immigrants who crossed the ocean to Argentina, lured by the promise of a better life. It found its home in the city’s marginal districts, where it was embraced and shaped by young men who told stories of prostitutes, petty thieves, and disappointed lovers through its music and movements. Chronicling the stories told through tango’s lyrics, Mike Gonzalez and Marianella Yanes reveal in Tango how the dance went from slumming it in the brothels and cabarets of lower-class Buenos Aires to the ballrooms of Paris, London, Berlin, and beyond. Tracing the evolution of tango, Gonzalez and Yanes set its music, key figures, and the dance itself in their place and time. They describe how it was not until Paris went crazy for tango just before World War I that it became acceptable for middle-class Argentineans to perform the seductive dance, and they explore the renewed enthusiasm with which each new generation has come to it. Telling the sexy, enthralling story of this stylish and dramatic dance, Tango is a book for casual fans and ballroom aficionados alike.

A study of prostitution necessarily examines questions of power, class, gender, and public health. In Sex and Danger in Buenos Aires these questions combine with particular force. During most of the time covered in this provocative book, from the late nineteenth century well into the twentieth, prostitution was legal in Argentina. Fears and anxieties concerning the effect of female sexual commerce on family and nation were rampant. Donna J. Guy looks at many aspects of the debate that followed an escalating demand for prostitutes by Argentines and European immigrants. She discusses the widespread fear of white slavery, the merits of medically supervised municipal houses of prostitution, the rights of local governments to restrict the civil liberties of citizens and foreigners, the censorship of literature and music dealing with the plight of prostitutes, and the potential criminality of unsupervised working women who might abandon their families. Guy also describes attempts to deal with female prostitution: rehabilitation, modifications of municipal bordello laws, and medical programs to prevent the spread of venereal disease. She makes clear that the treatment of "marginal" women by liberal politicians and doctors helped promoted policies of repression and censorship that would later be extended to other unacceptable social groups. Her study of how both local and national government in Argentina dealt with these women reveals important links between gender, politics, and economics.