Some of the most important writers of the twentieth century, including Borges, Cortázar, Rulfo, and García Márquez, have explored ambiguous sites of a disquieting nature. Their characters face merging perspectives, deferral, darkness, or emptiness. Such a space is neither a site of projection (as utopia or dystopia) nor a neutral setting (as the topos). For the characters, it is real and active, at once elusive and transforming. Despite the challenges of visualizing such slippery spaces, filmic experimentations in Spanish American cinema since the 1960s have sought to adapt these texts to the screen. Ilka Kressner's Sites of Disquiet examines these representations of alternative dimensions in Spanish American short narratives and their transformations to the cinematic screen. The study is informed by contemporary critical approaches to spatiality, especially the concepts of atopos (non-space), spaces of mobility, sites of différance, of a self-effacing presence, and sonic spaces. Kressner's comparative study of textual and cinematic constructions of non-spaces highlights the potential and limits of inter-arts adaptation. Film not only portrays the sites in ways that are intrinsic to the medium, but during the cinematic translation, it further develops the textual presentations of space. Text and film illuminate each other in their renderings of echoes, gaps, absences, and radical openness. The shared focus of the two media on precarious spaces highlights their awareness of the physical and situational conditions in the works. Therefore, it vindicates the import of space and dwelling, and the often underestimated impact of surroundings on the human body and mind. Despite their heterogeneity, the artistic elaborations of these ambivalent atopoi all share a liberating impulse: they assert creative and open-ended interactions with space where volatility ceases to be a negative term.

1991-In the foothills of Tasmania's Mount Wellington a Vietnam veteran, Joe Gilewicz is shot dead by a special police group. Their version is simple: he shot at us, we shot back. A ballistics cop enters the killing zone and plants evidence to shore up the official police line'¦but he can't go on with it. He confesses and expects prison.The dead man is a comrade in arms. Born in a Nazi concentration camp, Stan Hanuszewicz is a two-tour Vietnam Vet. The dead soldier's parents, holocaust survivors too. They met behind the wire in a death camp.'I cannot watch when they pull my fingernails out,' she tells the author.'Swim from Gestapo' her friend calls as they make a bid for freedom in icy waters near the camp. 'Disquiet' is an unedited compilation of formal court statements and recorded family anecdote. Today Joe's death is recorded as 'justifiable homicide'. Disquiet is self-published on Lulu for the record.

Parenting the Crisis draws on original quantitative and qualitative research into the work that parents do in teaching their children in a broad range of areas. It engages with key debates from across the disciplines of sociology, social policy, social psychology, and media and cultural studies to build a timely critique of parenting culture. Tracey Jensen shows how the very concept of concept of "parenting" so often conceals gendered and classed assumptions about parental care and competence. From there, Jensen moves on to trace the ways that public discussions of parenting as in crisis are used to police and discipline families that are considered to be morally suspect, failing, or abnormal.

The sixth novel of the galaxy-spanning Sun Eater series merges the best of space opera and epic fantasy, as Hadrian Marlowe continues down a path that can only end in fire Ambitious universe-building combines with intimate character portraits for storytelling on a truly epic scale—for fans of Orson Scott Card, Adrian Tchaikovsky, Patrick Rothfuss and Jack Campbell The end is nigh. It has been nearly two hundred years since Hadrian Marlowe assaulted the person of the Emperor and walked away from war. From his Empire. His duty. From the will and service of the eldritch being known only as the Quiet. The galaxy lies in the grip of a terrible plague, and worse, the Cielcin have overrun the realms of men. A messenger has come to Jadd, bearing a summons from the Sollan Emperor for the one-time hero. A summons, a pardon, and a plea. HAPSIS, the Emperor’s secret first-contact intelligence organization, has located one of the dreadful Watchers, the immense, powerful beings worshipped by the Pale Cielcin. Called out of retirement and exile, the old hero—accompanied by his daughter, Cassandra—must race across the galaxy and against time to accomplish one last, impossible task: To kill a god.

Acclaimed historian Harry Harootunian calls attention to the boundaries, real and theoretical, that compartmentalize the world around us. In one of the first works to explore on equal footing European and Japanese conceptions of modernity—as imagined in the writings of Georg Simmel and Walter Benjamin, as well as ethnologist Yanagita Kunio and Marxist philosopher Tosaka Jun—Harootunian seeks to expose the problematic nature of scholarly categories. In doing so, History's Disquiet presents intellectual genealogies of such orthodox notions as "field" and "modernity" and other concepts intellectuals in the East and West have used to understand the changing world around them. Contrasting reflections on everyday life in Japan and Europe, Harootunian shows how responses to capitalist society were expressed in similar ways: social critics in both regions alleged a broad sense of alienation, particularly among the middle class. However, he also points out that Japanese critics viewed modernity as a condition in which Japan—without the lengthy period of capitalist modernization that characterized Europe and America—was either "catching up" with those regions or "copying" them. As elegantly written as it is controversial, this book is both an invitation for rethinking intellectual boundaries and an invigorating affirmation that such boundaries can indeed be broken down.

The International Art Exhibition for Palestine took place in Beirut in 1978 and mobilized international networks of artists in solidarity with anti-imperialist movements of the 1960s and ’70s. In that era, individual artists and artist collectives assembled collections; organized touring exhibitions, public interventions and actions; and collaborated with institutions and political movements. Their aim was to lend support and bring artistic engagement to protests against the ongoing war in Vietnam, the Pinochet dictatorship in Chile, and the apartheid regime in South Africa, and they were aligned in international solidarity for anti-colonial struggles. Past Disquiet brings together contributions from scholars, curators and writers who reflect on these marginalized histories and undertakings that took place in Baghdad, Beirut, Belgrade, Damascus, Paris, Rabat, Tokyo, and Warsaw. The book also offers translations of primary texts and recent interviews with some of the artists involved.

World Literature Today: Notable Translation of the Year PopMatters: Best Book of the Year From the internationally bestselling author of Serenade for Nadia, a powerful story of love and faith amidst the atrocities committed by ISIS against the Yazidi people. Disquiet transports the reader to the contemporary Middle East through the stories of Meleknaz, a Yazidi Syrian refugee, and Hussein, a young man from the Turkish city of Mardin near the Syrian border. Passionate about helping others, Hussein begins visiting a refugee camp to tend to the thousands of poor and sick streaming into Turkey, fleeing ISIS. There, he falls in love with Meleknaz—whom his disapproving family will call “the devil” who seduced him—and their relationship sets further tragedy in motion. A nuanced meditation on the nature of being human and an empathetic, probing look at the past and present of these Mesopotamian lands, Disquiet gives voice to the peoples, faiths, histories, and stories that have swept through this region over centuries.

Jerry's autobiography is concerned with belonging to "that ten percent". Born in 1927, was his gay gene responsible for his dyslexia and attention deficit? Jerry reminisces of his early happy impressionable years with a loving family. He was aware at an early age that he was different and liked who he was. His ten years at Saint Joseph school were agonizing with failures. He experienced his first sexual romance months before his 18th birthday. In 1946 he moved to Chicago from his home town of 22,000 in northern Indiana. Arriving in Los Angeles, he works behind a lunch counter while attending art school. He meets a medical doctor, artist, and becomes his lover. Receiving remedial reading help, Jerry became a teacher and an advocate for early childhood education. His special friend was a victim of entrapment and his career ruined. Jerry refers to himself as a "Spiritualist Humanist" and concludes with an optimistic view that science research and man's brotherhood of caring will move civilization forward.

Disquiet is a collection of poems that utilizes natural phenomena—a bright beach, a fallen tree limb, the weight of gravity—to evoke and reflect upon memory and human experience. The poems are structurally innovative, each shaped around a central axis as they trace the speaker’s growth from childhood to adulthood. Acute observations resonate throughout the book as its focus shifts from the natural world to the world of the made—the grocery cart or pie-case or microscope—to the world of visual art, and then back. The poems are subtly braided together in a way reminiscent of the invisible bonds that unite snowflakes or cells.

The New Yorker is, of course, a bastion of superb essays, influential investigative journalism, and insightful arts criticism. But for eighty years, it’s also been a hoot. In fact, when Harold Ross founded the legendary magazine in 1925, he called it “a comic weekly,” and while it has grown into much more, it has also remained true to its original mission. Now an uproarious sampling of its funny writings can be found in a hilarious new collection, one as satirical and witty, misanthropic and menacing, as the first, Fierce Pajamas. From the 1920s onward–but with a special focus on the latest generation–here are the humorists who set the pace and stirred the pot, pulled the leg and pinched the behind of America. S. J. Perelman unearths the furious letters of a foreign correspondent in India to the laundry he insists on using in Paris (“Who charges six francs to wash a cummerbund?!”). Woody Allen recalls the “Whore of Mensa,” who excites her customers by reading Proust (or, if you want, two girls will explain Noam Chomsky). Steve Martin’s pill bottle warns us of side effects ranging from hair that smells of burning tires to teeth receiving radio broadcasts. Andy Borowitz provides his version of theater-lobby notices (“In Act III, there is full frontal nudity, but not involving the actor you would like to see naked”). David Owen’s rules for dating his ex-wife start out magnanimous and swiftly disintegrate into sarcasm, self-loathing, and rage, and Noah Baumbach unfolds a history of his last relationship in the form of Zagat reviews. Meanwhile, off in a remote “willage” in Normandy, David Sedaris is drowning a mouse (“This was for the best, whether the mouse realized it or not”). Plus asides, fancies, rebukes, and musings from Patty Marx, Calvin Trillin, Bruce McCall, Garrison Keillor, Veronica Geng, Ian Frazier, Roy Blount, Jr., and many others. If laughter is the best medicine, Disquiet, Please is truly a wonder drug.