Barcelona detective Pepe Carvalho’s radical past catches up with him when a powerful businessman—a patron of artists and activists—is found dead after going missing for a year. In search of the spirit of Paul Gauguin, Stuart Pedrell—eccentric Barcelona businessman, construction magnate, dreamer, and patron of poets and painters—disappeared not long after announcing plans to travel to the South Pacific. A year later he is found stabbed to death at a construction site in Barcelona. Gourmand gumshoe Pepe Carvalho is hired by Pedrell’s wife to find out what happened. Carvalho, a jaded former communist, must travel through circles of the old anti-Franco left wing on the trail of the killer. But with little appetite for politics, Carvalho also leads us on a tour through literature, cuisine, and the criminal underbelly of Barcelona in a typically brilliant twist on the genre by a Spanish master.

From the time she was a little girl, Nia has dreamed up adventures about the Javanese mythical princess, Dewi Kadita. Now fourteen, Nia would love nothing more than to continue her education and become a writer. But high school costs too much. Her father sells banana fritters at the train station, but too much of his earnings go toward his drinking habit. Too often Nia is left alone to take over the food cart as well as care for her brother and their home in the Jakarta slums. But Nia is determined to find a way to earn her school fees. After she survives a minibus accident unharmed and the locals say she is blessed with 'good luck magic,' Nia exploits the notion for all its worth by charging double for her fried bananas. Selling superstitions can be dangerous, and when the tide turns it becomes clear that Nia’s future is being mapped without her consent. If Nia is to write a new story for herself, she must overcome more obstacles than she could ever have conceived of for her mythical princess, and summon courage she isn't sure she has.

Reprint of the original, first published in 1874.

Postcolonial literature about the South Seas, or Nanyang, examines the history of Chinese migration, localization, and interethnic exchange in Southeast Asia, where Sinophone settler cultures evolved independently by adapting to their "New World" and mingling with native cultures. Writing the South Seas explains why Nanyang encounters, neglected by most literary histories, should be considered crucial to the national literatures of China and Southeast Asia.

This book is a study of 'collecting' undertaken by Joseph Antoine Bruni d'Entrecasteaux and his shipmates in Tasmania, the western Pacific Islands, and Indonesia. In 1791-1794 Bruni d'Entrecasteaux led a French naval expedition in search of the lost vessels of La Pérouse which had last been seen by Europeans at Botany Bay in March 1788. After Bruni d'Entrecasteaux died near the end of the voyage and the expedition collapsed in political disarray in Java, its collections and records were subsequently scattered or lost. The book's core is a richly illustrated examination, analysis, and catalog of a large array of ethnographic objects collected during the voyage, later dispersed, and recently identified in museums in France, Norway, the Netherlands, Switzerland, and the United States. The focus on artifacts is informed by a broad conception of collecting as grounded in encounters or exchanges with Indigenous protagonists and also as materialized in other genres--written accounts, vocabularies, and visual representations (drawings, engravings, and maps). Historically, the book outlines the antecedents, occurrences, and aftermath of the voyage, including its location within the classic era of European scientific voyaging (1766-1840) and within contemporary colonial networks. Particular chapters trace the ambiguous histories of the extant collections. Ethnographically, contributors are alert to local settings, relationships, practices, and values; to Indigenous uses and significance of objects; to the reciprocal, dialogic nature of collecting; to local agency or innovation in exchanges; and to present implications of objects and their histories, especially for modern scholars and artists, both Indigenous and non-Indigenous.