A community theater's production of Special Yearnings triggers a string of underground nuclear explosions from St. Louis to Worcester, Massachusetts. A man frantically swats at the blaze that his girlfriend has ignited in his trousers, while her family tries to figure out whether his agonized sign language means "Under the Volcano" or "No Time for Sergeants." Charo, Marianne Faithfull, and Napoleon's sister swap glittering witticisms and pornographic come-ons with languid aesthetes and unhinged suburbanites. Such scenarios are just par for the course in this gloriously disorienting volume by Mark Leyner, author of My Cousin, My Gastroenterologist and Et Tu, Babe, and a writer who plays the English language the way Jimi Hendrix played the guitar: at blinding speed, dangerous volume, and with a perfect mixture of lyricism and sheer menace.

Welcome to Mark Leyner's America, where you can order gallium arsenide sushi at a roadside diner, get loaded on a cocktail of growth hormones and anabolic steroids, and support your habit by appearing on TV game shows. Welcome to a wildly post-Einsteinian fictional universe where the locals include a speech pathologist with a waterbug fetish, a kamikaze airline pilot, and the lead singer for Brazil's most notoriously nihilistic samba band.

Italian cinema is now regarded as one of the great cinemas of the world. Historically, however, its fortunes have varied. Following a brief moment of glory in the early silent era, Italian cinema appeared to descend almost into irrelevance in the early1920s. A strong revival of the industry which gathered pace during the 1930s was abruptly truncated by the advent of World War II. The end of the war, however, initiated a renewal as films such as Roma città aperta (Rome Open City), Sciuscià (Shoeshine, 1946), and Ladri di biciclette (Bicycle Thieves, 1948), flagbearers of what soon came to be known as Neorealism, attracted unprecedented international acclaim and a reputation that only continued to grow in the following years as Italian films were feted worldwide. Ironically, they were celebrated nowhere more than in the United States, where Italian films consistently garnered the lion's share of the Oscars, with Lina Wertmüller becoming the first woman to ever be nominated for the Best Director award. This second edition of Historical Dictionary of Italian Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on major movements, directors, actors, actresses, film genres, producers, industry organizations and key films. This book is an excellent resource for students, researchers, and anyone wanting to know more about Italian Cinema.

The blazingly inventive fictional autobiography of Mark Leyner, one of America's "rare, true original voices" (Gary Shteyngart). Dizzyingly brilliant, raucously funny, and painfully honest, Gone with the Mind is the story of Mark Leyner's life, told as only Mark Leyner can tell it. In this utterly unconventional novel -- or is it a memoir? -- Leyner gives a reading in the food court of a New Jersey shopping mall. The "audience" consists of Mark's mother and some stray Panda Express employees, who ask a handful of questions. The action takes place entirely at the food court, but the territory covered in these pages has no bounds. A joyride of autobiography, cultural critique, DIY philosophy, biopolitics, video games, demagoguery, and the most intimate confessions, Gone with the Mind is both a soulful reckoning with mortality and the tender story of the relationship between a complicated mother and an even more complicated son. At once nostalgic and acidic, deeply humane, and completely surreal, Gone with the Mind is a work of pure, hilarious genius.

Finalist for the 2021 PEN Translation Prize A Best Translation of the Year at World Literature Today That Hair is a family album of sorts that touches upon the universal subjects of racism, feminism, colonialism, immigration, identity and memory. “The story of my curly hair,” says Mila, the narrator of Djaimilia Pereira de Almeida’s autobiographically inspired tragicomedy, “intersects with the story of at least two countries and, by extension, the underlying story of the relations among several continents: a geopolitics.” Mila is the Luanda-born daughter of a black Angolan mother and a white Portuguese father. She arrives in Lisbon at the tender age of three, and feels like an outsider from the jump. Through the lens of young Mila’s indomitably curly hair, her story interweaves memories of childhood and adolescence, family lore spanning four generations, and present-day reflections on the internal and external tensions of a European and African identity. In layered and luscious prose, That Hair enriches and deepens a global conversation, challenging in necessary ways our understanding of racism, feminism, and the double inheritance of colonialism, not yet fifty years removed from Angola’s independence. It’s the story of coming of age as a black woman in a nation at the edge of Europe that is also rapidly changing, of being considered an outsider in one’s own country, and the impossibility of “returning” to a homeland one doesn’t in fact know.

This is one of the most significant military books of the twentieth century. By an outstanding soldier of independent mind, it pushed forward the evolution of land warfare and was directly responsible for German armoured supremacy in the early years of the Second World War. Published in 1937, the result of 15 years of careful study since his days on the German General Staff in the First World War, Guderian's book argued, quite clearly, how vital the proper use of tanks and supporting armoured vehicles would be in the conduct of a future war. When that war came, just two years later, he proved it, leading his Panzers with distinction in the Polish, French and Russian campaigns. Panzer warfare had come of age, exactly as he had forecast. This first English translation of Heinz Guderian's classic book - used as a textbook by Panzer officers in the war - has an introduction and extensive background notes by the modern English historian Paul Harris.