This lyrical novel, structured like a Creole quadrille, is a rich ethnography bearing witness to police violence in French Guadeloupe. Narrators both living and dead recount the racial and class stratification that led to a protest-turned-massacre. Dambury’s English debut is a vibrant memorial to a largely forgotten atrocity, coinciding with the government’s declassification of documents pertaining to the incident.

It is 1939. Eva Delectorskaya is a beautiful 28-year-old Russian émigrée living in Paris. As war breaks out she is recruited for the British Secret Service by Lucas Romer, a mysterious Englishman, and under his tutelage she learns to become the perfect spy, to mask her emotions and trust no one, including those she loves most. Since the war, Eva has carefully rebuilt her life as a typically English wife and mother. But once a spy, always a spy. Now she must complete one final assignment, and this time Eva can't do it alone: she needs her daughter's help.

A core principle of modern science holds that a scientific explanation must not attribute will or agency to natural phenomena.The Restless Clock examines the origins and history of this, in particular as it applies to the science of living things. This is also the story of a tradition of radicals—dissenters who embraced the opposite view, that agency is an essential and ineradicable part of nature. Beginning with the church and courtly automata of early modern Europe, Jessica Riskin guides us through our thinking about the extent to which animals might be understood as mere machines. We encounter fantastic robots and cyborgs as well as a cast of scientific and philosophical luminaries, including Descartes and Leibnitz, Lamarck and Darwin, whose ideas gain new relevance in Riskin's hands. The book ends with a riveting discussion of how the dialectic continues in genetics, epigenetics, and evolutionary biology, where work continues to naturalize different forms of agency.The Restless Clock reveals the deeply buried roots of current debates in artificial intelligence, cognitive science, and evolutionary biology.

Do you feel like you're just waiting to find your purpose? Do you want to live like you were made for more? Many of us feel restless, and that might not be a bad thing. . . When our restlessness awakens our longing to be woven into God's story, it can launch us into living the life of purpose God designed for us. In this video-based small group Bible study (DVD/video streaming sold separately), Bible study teacher and author of Get Out of Your Head Jennie Allen helps you discover a practical plan to identify the loose threads of your life and how to weave them together for God's glory and purposes. Jennie uses the story of Joseph in the book of Genesis to explain how his suffering, gifts, story, and relationships fit into the greater tapestry of God’s narrative—and how our story can do the same. In this study you will: Explore practical ways to identify the threads of your life. Learn how to intentionally weave those threads together. Discover how your gifts, passions, places, and relationships aren’t random; they’re deliberate and meaningful. Speak the truth about your suffering: it’s possible it has produced the very thing you want to give back to the world. The Restless Study Guide engages the mind and heart through stories, Bible study from the life of Joseph, and Threads—a tool to help you see your own personal story and to uncover and understand the raw materials God has given you to use for his glory and purpose. What would happen if you spent the rest of your life running without reservation after His purposes for you? Designed for use with the Restless Video Study (9780879922374), sold separately

Winner of The Restless Books Prize for New Immigrant Writing “Grace Talusan writes eloquently about the most unsayable things: the deep gravitational pull of family, the complexity of navigating identity as an immigrant, and the ways we move forward even as we carry our traumas with us. Equal parts compassion and confession, The Body Papers is a stunning work by a powerful new writer who—like the best memoirists—transcends the personal to speak on a universal level.” —Celeste Ng, author of Everything I Never Told You and Little Fires Everywhere Born in the Philippines, young Grace Talusan moves with her family to a New England suburb in the 1970s. At school, she confronts racism as one of the few kids with a brown face. At home, the confusion is worse: her grandfather’s nightly visits to her room leave her hurt and terrified, and she learns to build a protective wall of silence that maps onto the larger silence practiced by her Catholic Filipino family. Talusan learns as a teenager that her family’s legal status in the country has always hung by a thread—for a time, they were “illegal.” Family, she’s told, must be put first. The abuse and trauma Talusan suffers as a child affects all her relationships, her mental health, and her relationship with her own body. Later, she learns that her family history is threaded with violence and abuse. And she discovers another devastating family thread: cancer. In her thirties, Talusan must decide whether to undergo preventive surgeries to remove her breasts and ovaries. Despite all this, she finds love, and success as a teacher. On a fellowship, Talusan and her husband return to the Philippines, where she revisits her family’s ancestral home and tries to reclaim a lost piece of herself. Not every family legacy is destructive. From her parents, Talusan has learned to tell stories in order to continue. The generosity of spirit and literary acuity of this debut memoir are a testament to her determination and resilience. In excavating such abuse and trauma, and supplementing her story with government documents, medical records, and family photos, Talusan gives voice to unspeakable experience, and shines a light of hope into the darkness.

Based on comparative readings of contemporary books from Latin America, Spain, and the United States, the essays in this book present a radical critique against strategies of literary appropriation that were once thought of as neutral, and even concomitant, components of the writing process. Debunking the position of the author as the center of analysis, Cristina Rivera Garza argues for the communality—a term used by anthropologist Floriberto Díaz to describe modes of life of Indigenous peoples of Oaxaca based on notions of collaborative labor—permeating all writing processes. Disappropriating is a political operation at the core of projects acknowledging, both at ethical and aesthetic levels, that writers always work with materials that are not their own. Writers borrow from the practitioners of a language, entering in a debt relationship that can only be covered by ushering the text back to the communities from which it grew. In a world rife with violence, where the experiences of many are erased by pillage and extraction, writing among and for the dead is a form of necrowriting that may well become a life-affirming act of decolonization and resistance.

"No one seems to be happy with the present. That loathing of the present is understandable. The present moment, in modern life, is hard to love, or even to grasp. For the modern present is a state of constant motion. Perpetual moral, social, and psychic revolution is the price we pay for our unprecedented liberty, equality, and prosperity. Though we rightly prize those great political goods, having our world turned upside down every morning makes us all of us uneasy and some of us miserable. We exacerbate our unease by our failure to recognize it. With our ritual insistence that we are perfectly content to "go with the flow," we deny even the existence of our disquiet. We refuse to see what time it is, and we refuse to see ourselves"--