Seven Stories Press London Bookfair Catalog 2013 by Veronica Liu

Seven Stories Press London 2013

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    Seven Stories Press is an independent book publisher based in New York City. We publish works of the imagination by such writers as Nelson Algren, Russell Banks, Octavia E. Butler, Ani DiFranco, Assia Djebar, Ariel Dorfman, Coco Fusco, Barry Gifford, Martha Long, Luis Negrón, Hwang Sok-yong, Lee Stringer, and Kurt Vonnegut, to name a few, together with political titles by voices of conscience, including Subhankar Banerjee, the Boston Women’s Health Collective, Noam Chomsky, Angela Y. Davis, Human Rights Watch, Derrick Jensen, Ralph Nader, Loretta Napoleoni, Gary Null, Greg Palast, Project Censored, Barbara Seaman, Alice Walker, Gary Webb, and Howard Zinn, among many others. Seven Stories Press believes publishers have a special responsibility to defend free speech and human rights, and to celebrate the gifts of the human imagination, wherever we can. In  we launched Triangle Square books for young readers with strong social justice and narrative components, telling personal stories of courage and commitment. For additional information, visit www.sevenstories.com.

CONTENTS NONFIC TION Operation Massacre by Rodolfo Walsh (w0rld english)

The Disunited States by Vladimir Pozner (w0rld english)

Moments Politiques by Jacques Rancière (w0rld english)

Stop Breast Cancer Before it Starts by Samuel S. Epstein, MD

Overpowered by Martin Blank, PhD

Holistic Beauty from the Inside Out by Julie Gabriel

Minecraft by Daniel Goldberg and Linus Larsson (w0rld english)

The Approaching Great Transformation by Joel Magnuson

Meme Wars by Kalle Lasn and Adbusters

The Walrus and the Elephants by James A. Mitchell

Nuclear War and Environmental Catastrophe by Noam Chomsky and Laray Polk

FIC TION, LITER AT URE & P OE TRY The Body Where I was Born by Guadalupe Nettel (w0rld english)

Infidels by Abdellah Taïa (w0rld english)

The Walls of Delhi by Uday Prakash (w0rld english)

Stop Here by Beverly Gologorsky

Mundo Cruel by Luis Negrón

The Albino Album by Chavisa Woods

Skinned by Antjie Krog

YOUNG A DULT A ND CHILDREN The Wizard’s Tears and Other Titles by Maxine Kumin and Anne Sexton

Lizzie by Maxine Kumin

The Third Chimpanzee for Young People by Jared Diamond, adapted by Rebecca Stefoff (w0rld english)

What Makes a Baby by Cory Silverberg

A is for Activist by Innosanto Nagara

GR A PHIC & ILLUSTR ATED WORKS Fight the Power by Sean Michael Wilson and Benjamin Dickson

The Minimum Security Chronicles by Stephanie McMillan

The Graphic Canon, Volume 3 edited by Russ Kick

The Graphic Canon of Children’s Literature edited by Russ Kick

HO T A N D SE L L I NG

C ON TAC T I N F OR M AT ION

Operation Massacre      

introduction by Michael Greenberg, afterword by Ricardo Piglia, translated from the Spanish by Daniella Gitlin august 2013 • 352 pages

First English translation of a superb literary-quality work of narrative nonfiction by an author regularly counted among the likes of Jorge Luis Borges, Gabriel García Márquez, Mario Vargas Llosa, Julio Cortázar, and Adolfo Bioy Casares.

Operation Massacre tells the story of Walsh’s investigation into the Argentine state’s secret—and botched—execution of a group of civilians in . Walsh recreates the night of the crime and gives the reader detailed portraits of every one of the victims in the language of a seasoned crime fiction author and with the moral bite of a man outraged by the inhumanity and injustice of his time. An assiduously reworked and intensely personal book, Operation Massacre was updated three more times after it was first published to include new facts and alter footnotes. Among the appendices included in the fourth and final version of the text is Walsh’s famous “Carta abierta de un escritor a la junta militar” (“Open Letter from a Writer to the Military Junta”), which he wrote, signed, and sent out to major newspapers in the country on March , , one day before he was kidnapped and killed. This letter has remained an important document of that dark time in Argentina’s history. Operation Massacre is Walsh’s most enduring work—a book that embodies the rare combination of literary quality, social criticism, historical documentation, and genuine compassion. The grandson of Irish immigrants, RODOLFO WALSH was born in a small Patagonian town in . He dropped out of high school in Buenos Aires and eventually began writing crime fiction before publishing his monumental work of nonfiction, Operación Masacre, in . He traveled to Cuba in the midst of the revolution and launched a newspaper with Gabriel García Márquez, among others. Upon his return to Argentina in  he was shunned by the journalistic community for his connections to the Cuban Revolution. In  Walsh updated Operación Masacre for the fourth and final time before joining the radical Peronist group, the Montoneros, the following year. A day after submitting his now famous  “Open Letter from a Writer to the Military Junta”, Walsh was “disappeared” by the state. DANIELLA GITLIN is a writer, translator, and editor. She studied comparative literature at Princeton University and received her MFA in nonfiction writing from Columbia University. 4

All of Walsh’s work demonstrates his commitment to reality, his almost implausible analytical talent, his personal bravery, and his political ferocity. —Gabriel García Márquez The best Argentinean narrator of his generation.—Eduardo Galeano Finally, this classic of Latin American literature is available in English! Walsh not only exposes a terrible crime with precise and haunting prose, but establishes, many years before Capote and Mailer, a whole new genre of personal investigative journalism that transcends its immediate circumstances. —Ariel Dorfman

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The Disunited States            

Translated from the French by Alison Strayer june 2014 • 416 pages

Vladimir Pozner—influential French novelist, screenwriter, pioneer in literary genre and Oscar nominee—came to the United States in the s. He found the nation and its people in a state of profound material and spiritual crisis, and took it upon himself to chronicle the life of the worker, the striker, the politician, the starlet, the gangster, the everyman; to document the bitter, violent racism tearing its society asunder, the overwhelming despair permeating everyday life, and the unyielding human struggle against it all. In the spirit of Tocqueville’s Democracy in America, Pozner writes about America and Americans with the searing criticism and deep compassion of an outsider who loved the country and its people far too much to render anything less than a brutally honest portrayal. Recalling Agee’s Let Us Now Praise Famous Men, he shatters the rules of reportage to create a complete portrait of America, enduring and profound. In these pages Pozner reveals the soul of Depression-era America—Faulkner’s America, in all its sound and fury—in a writing style that is “dry, precise, nervous, sometimes violent and other times tender, sensitive to emotion but disinterested in sentimentalism” (Daniel Pozner, from the introduction). Published in France in  to critical acclaim, The Disunited States reemerges for its th anniversary in the first-ever English edition, and the timing could not be better. For The Disunited States is the rediscovery of an era lost. Lost, and yet near, so very near to us, as we find ourselves again in the throes of an American economic and moral crisis. VLADIMIR POZNER (–) was a French writer whose prestigious career as a novelist

took off in the s with Tolstoï est mort (Tolstoy is Dead) and Le mors aux dents (The Bit Between the Teeth). A militant antifascist who took refugee in the United States during the war, Pozner was also a Hollywood screenwriter, where he got to know Bertolt Brecht and Charlie Chaplin, and was nominated for an Oscar for The Dark Mirror. Backpacker, raconteur, and pioneer of literary styles, Pozner dedicated his life to giving a testimony of his times. ALISON L. STR AYER is a Canadian writer and translator. Her work has been shortlisted for the Gov-

ernor General’s Award for Literature (for Jardin et Prairie, a novel, ) and for Translation (Mavis Gallant’s A Fairly Good Time, with G. Letarte, ), the Grand Prix Littéraire de la Ville de Montréal and the Prix France-Quebec. She lives in Paris.

Vladimir Pozner has written here some stunning pages. —L’Humanité One of the most humble, and sharpest writers of his time. —Magazine Littéraire One of Pozner’s most startling books.—La Nouvelle Critique By dint of names, dates, and figures, of classified ads, of sundry facts, of statistics, of the confessions of great writers and of anonymous passersby, of quotations from provincial newspaper and from official discourses, Vladimir Pozner reconstructs, vibrantly, so terribly vibrantly and magnificently, the American civilization. —Les Lettres Françaises

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Moments Politiques

Interventions: Short Essays and Interviews of Jacques Rancière, –

          translated by Mary Forster june 2014 • 208 pages

To speak of “political moments” is to say, first and foremost, that politics is not the continuous unfolding of governmental acts and power struggles; rather, it exists in those moments that question what politics is, exactly, what kind of community it engages, what people are contained therein and of what those people are capable. Politics is the impulse that either sparks or stalls a movement. Moments Politiques collects the short essays and interviews of Jacques Rancière that speak to moments such as these from a span of thirty years,  to . Speak to, and intervene in, for each piece is an intervention into the way we conceive of these moments, for they seek to call into question the inevitability we see in the world and undermine the legitimacy of what we think is possible. By examining the issues in which political moments arise, such as /, immigration laws, and even the philosophy of Foucault, Rancière opens us up to the possibility of a different world, to reimagining, and re-charting, the map what is possible. JACQUES R ANCIÈRE is one of most important figures of contemporary French philosophy.

He is an Emeritus Professor of Philosophy at the University of Paris-VIII. His books include The Politics of Aesthetics, On the Shores of Politics, Short Voyages to the Land of the People, The Future of the Image, and The Nights of Labor. MARY FORSTER , educated at McGill University (BA, Joint Honours, Philosophy and English Literature; MA, Political Science) has translated numerous texts in the area of philosophy and political science, both for academic and practical use. She has recently completed translating a manual for the Accompaniment and Solidarity Project with Colombia, Decolonizing Our Solidarity, and Normand Baillergeon’s An Introduction to Anarchism, History and Current Challenges.

From Plato to Bourdieu, it is always the same melody, sung in every key: men are dominated because they are ignorant, and ignorant because dominated. In these pieces on current affairs, from a deadly heat wave to the use of the Islamic veil, Jacques Rancière demonstrates with conviction that they possess in themselves the means to their own emancipation. —Le Monde

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Stop Breast Cancer Before It Starts       .      ,   august 2013 • 288 pages

Straightforward guidelines for lay readers to prevent breast cancer from a leading authority on the causes and prevention of cancer.

With “I’m here for the boobs” T-shirt and coffee cups and a pink ribbon celebrity dunk tank, a Mardi Gras culture has arisen around a deadly disease over the last decade. The highly marketed pink ribbon, criticized for being tied to pharmaceutical interests, presents breast cancer as normal and pretty in pink. Yet, the statistics of breast cancer remain the same. Expert on the preventative causes of cancer, Dr. Samuel S. Epstein has been watching the debates around breast cancer for more than four decades. He asks, with all the talk about early detection, mammograms, improved treatment, and the race for the cure, why don’t we ever hear about breast cancer prevention? Dr. Epstein knows the substantial research that has directly associated many factors of daily life with the development of the disease. The steps that can be taken to prevent it are often amazingly simple, but rarely make the headlines. Here, the evidence is presented and preventative choices are carefully and accessibly outlined. In presenting this critical information that all women should know about, Stop Breast Cancer Before It Starts empowers them to take charge of their health and make a real difference in the fight against cancer. DR. SAMUEL S. EPSTEIN is a leading authority on the cause and prevention of cancer. He is

currently a professor emeritus of Environmental and Occupational Medicine at the University of Illinois School of Public Health, and Chairman of the Cancer Prevention Coalition. He has served as a consultant to the US Senate Committee on Public Works, given Congressional testimony several times, and has sat on key federal committees including the EPA’s Health Effects Advisory Committee, and the Department of Labor’s Advisory Committee on the Regulation of Occupational Carcinogens. Among his many awards, he received the Right Livelihood Award in , the Albert Schweitzer Golden Grand Medal for Humanitarianism from the Polish Academy of Medicine in , the Dragonfly Award from Beyond Pesticides in .

Praise for Dr. Epsteinâ&#x20AC;&#x2122;s The Breast Cancer Prevention Program: This book is more than a remarkable study. It is a prescription that may save your life. â&#x20AC;&#x201D;Studs Terkel

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Overpowered

The Dangers of Electromagnetic Radiation (EMF) and What You Can Do About It

         ,   november 2013 • 256 pages

A commercial and accessible book about the scientific evidence of the hazards of electromagnetic fields for the lay reader.

Cell phones have become ubiquitous fixtures of twenty-first-century life. Yet, we’ve all heard whispers that these essential little devices give you brain cancer. Could it be true? In  the World Health Organization shocked the international community by confirming that the radiation from cell phones is a possible carcinogen to humans. Many of us are left wondering, as Maureen Dowd asked in The New York Times, are cells the new cigarettes? Overpowered brings readers, in accessible and fascinating prose, through the substantial known and accepted science indicating the biological effects resulting from low levels of electromagnetic radiation (levels considered safe by regulatory agencies), coming not only from cell phones, but many other devices we use in our homes and offices every day. In this timely book Dr. Blank teaches us how we an take steps in our daily lives to reduce exposures and arms us with the information we need to keep ourselves and our families safe. DR. MARTIN BLANK is an expert on the health-related effects of electromagnetic fields and has been studying the subject for over thirty years. From  to  he taught as an Associate Professor at Columbia University where he now acts as a special lecturer. He has served as chairman of the Organic and Biological Division of the Electrochemical Society, as president of the Bioelectrochemical Society and as president of the Bioelectromagnetics Society. He has published over  papers and reviews and has served on the editorial boards of several journals, including the Journal of the Electrochemical Society, Bioelectrochemistry and Bioenergetics, and Electromagnetic Biology and Medicine.

Martin Blank deals with a difficult subject in a scientifically accurate but easily readable fashion. He covers everything from powerlines, to cell phones, to light bulbs, to conflicts of interest, with humor and passion. In this great scientist, we have an unlikely activist and truth teller. —David O. Carpenter, MD, Director, Institute for Health and the Environment In this easily accessible “good-read,” [Dr. Blank] shines blazing light on one of the most significant public health concerns today. This book is a must for anyone concerned with protecting their well-being, that of loved ones, and other species. —B. Blake Levitt, author of Electromagnetic

Fields, A Consumer’s Guide to the Issues and How to Protect Ourselves

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Holistic Beauty from the Inside Out Your Complete Guide to Natural Health, Nutrition, and Skincare

          april 2013 • 288 pages

Celebrated author of The Green Beauty Guide Julie Gabriel presents a comprehensive yet simple book that brings all four corners of the natural beauty paradigm together: natural skincare, holistic nutrition, stress-relief, and healthy lifestyle. A holistic nutritionist, Gabriel teaches her reader how to “eat yourself beautiful” using building blocks from a wholesome diet, and as a long-time beauty writer and editor, reveals why beauty-boosting changes to our everyday lifestyles are essential in helping us to discover the allure we are looking for. Holistic Beauty from the Inside Out claims that true beauty radiates from inner physical and emotional harmony. Our body is equipped with a full set of tools to maintain and restore our intrinsic assets, and has enormous healing powers to rejuvenate our skin, hair, and nails. The book includes handy and straightforward lists of what products to avoid, what foods to eat, and natural skincare recipes. JULIE GABRIEL is a holistic nutritionist, founder of Petite Marie Organics, and an advocate

of natural living, organic beauty, and holistic nutrition. As a beauty writer and editor, she has worked with Harper’s Bazaar, L’Officiel de la Mode et de la Couture, Atmospheres, and WWD. She has been featured on AOL Health, and Martha Stewart’s Living Radio, and in USA Today, the Washington Post, the Toronto Star, Natural Health, Shape, and Better Homes & Gardens. She is the author of several books on beauty including The Green Beauty Guide and Green Beauty Recipes.

Praise for The Green Beauty Guide: A thorough, practical guide. â&#x20AC;&#x201D;Publishers Weekly

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Minecraft

The Unlikely Tale of Markus “Notch” Persson and the Game that Changed Everything

                     november 2013 • 256 pages

The never-before-told story of Markus Persson and his hit game, Minecraft, one of Time magazine’s top  inventions of .

Two years ago, Markus Persson was a bored IT-developer in Stockholm, spending his days at a software development firm while worrying about losing his hair at a young age. In the evenings, he toiled away on a labor of love: a game with a tiny but dedicated online following. It was called Minecraft and Markus released it to the world in early , but few noticed. Today, Minecraft is a global phenomenon with nearly twenty million players. The game itself looks deceptively simple. It resembles a digital version of Lego—bricks stacked on top of each other, giving players a world where they build whatever structures their mind can conjure. Nothing could be more different from the industry giants’ shooter games. But Minecraft attracts millions of players and shows how a single great idea can topple empires in the digital, post-industrial world. Thousands of fans gather at Minecraft conventions around the world every year dressed like their favorite characters from the game. Millions manage their own Minecraft-servers and share recordings of their favorite sessions through YouTube. In the UK, three young people have built an audience of millions through their weekly YouTube Minecraft show called The Yogscast. In schools throughout Europe and the US, teachers use Minecraft to help young children understand concepts such as teamwork, social codes, engineering, and social science skills. Markus, known to most of his fans by his online name “Notch,” has become a legend. The story of Markus Persson and his hit game is a thrilling ride into the fast-paced world of digital entrepreneurship, and a fascinating insight into the workings of the multi-billion dollar video game industry. LINUS LARSSON and DANIEL GOLDBERG are two of the best-known writers on new tech-

nology and the Internet and have worked as researchers for internationally renowned British journalist Misha Glenn in developing the book DarkMarket: Cyberthieves, Cybercops and You (Knopf, ).

•    diehard Minecraft fans and .    waiting for this book in English • First full length book about this international phenomenon • First book to give insight into Markus “Notch” Persson’s personal and family life

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The Approaching Great Transformation

Toward a Livable Post Carbon Economy

    

Foreword by Helena Norberg-Hodge april 2013 • 240 pages

How should we act and think economically in the world as the era of cheap oil comes to an end? The Approaching Great Transformation begins to answer this massive question, focusing on the people and communities already at work on the transition: energy descent pioneers in the UK and the US educating their communities about the road ahead, small enterprises defying traditional “profit” in favor of permanence and sustainability, and cities preparing for a post carbon future. Highlighting the work of thinkers like John Ruskin and E. F. Schumacher, Magnuson here builds on his previous book, Mindful Economics. JOEL MAGNUSON is an independent economist based in Portland, Oregon. He is a visit-

ing fellow at the Ashcroft International Business School at Anglia Ruskin University in Cambridge, England, serves as an international advisor to Anglia’s journal Interconnections, and is on the faculty at the East West Sanctuary in Nagykovácsi, Hungary. He is the author of Mindful Economics: How the US Economy Works, Why It Matters, and How It Could Be Different (Seven Stories, ).

A challenging and engaging exploration of what it will take to make the transition to an ecologically sustainable future. Magnuson exposes the false promises of green-wash capitalism and . . . puts the hopeful shoots of real alternatives squarely on the map. —Gar Alperovitz, Lionel R. Bauman Professor of Political Economy at the University of Maryland and author of America Beyond Capitalism Magnuson pulls no punches regarding the coming collapse of the corporate-commercialconsumer society, or the inability of technological fixes and “green capitalism” to bail us out of the historical crunch that is virtually upon us. —Morris Berman, author of Why America Failed

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Meme Wars

The Creative Destruction of Neoclassical Economics

                 november 2012 • 400 pages

With contributions from Nobel Prize winner Joseph Stiglitz, Paul Samuelson, George Akerlof, Lourdes Benería, Julie Matthaei, David Orrell, John Ralston Paul, Bernard Stiegler, Paul Gilding, Peter Stalker, Mathis Wackernagel and the father of ecological economics, Herman Daly, among others.

From the editor and magazine that started and named the Occupy Wall Street movement, Meme Wars lays out the next steps in rethinking and remaking our world that challenges and debunks many of the assumptions of neoclassical economics and brings to light a more ecological model. Meme Wars aims to accelerate the shift into this new paradigm that takes into account psychonomics, bionomics, and other aspects of our physical and mental environment that are often left out in discussions of economics. Like Adbusters, the book is image-heavy and full-color throughout. Lasn calls it “a textbook for the future” that provides the building blocks, in texts and visuals, for a new way of looking at and changing our world. K ALLE LASN is an internationally known, award-winning documentarian. He is publish-

er of Adbusters magazine and founder of the Adbusters Media Foundation and Powershift Advertising Agency. Lasn, along with Adbusters senior editor Micah White and Adbusters’ ,-strong global network of activists were the instigators of the first OccupyWallStreet event on September , , by suggesting the date, location, and name for when protestors would converge. Lasn’s  book, Culture Jam, was first published the same month as the infamous World Trade Organization protest—the Battle of Seattle—which has been widely credited with sparking the second phase of the antiglobalization movement. ADBUSTERS is a not-for-profit, reader-supported, advertising-free magazine that lays bare anticapitalist, pro-environment concerns through its self-described “global network of artists, activists, writers, pranksters, students, educators, and entrepreneurs who want to advance the new social activist movement of the information age.” Past and present contributors to the magazine include Slajov Žižek, David Graeber, Simon Critchley, Michael Hardt, Antonio Negri, Matt Taibbi, Bill McKibben, Douglas Rushkoff, Jonathan Cook, and Chris Hedges.

Adbusters magazine and its editor Kalle Lasn have been at the forefront of the global resistance to capitalism exemplified by the Occupy movement. Their new book, Meme Wars: The

Creative Destruction of Neoclassical Economics, uses startling images to back up its hardhitting points. —The Guardian The essays in Meme Wars are engrossing, exciting even. This book compels us to rethink our approaches to economics. —Literary Review of Canada Thought-provoking and creative. —Julie Nelson, author of Beyond Economic Man: Feminist Theory and

Economics Meme Wars should be required reading for anyone wants to challenge their ideas about the modern economy and the people who champion it.” — Miranda Nelson, The Georgia Straight

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The Walrus and the Elephants John Lennon’s Revolutionary Year

     .        december 2013 • 352 pages

Exclusive interviews include writer and feminist leader Gloria Steinem; congressional black caucus cofounder Ron Dellums; “Chicago Seven” veteran Rennie Davis; immigration attorney Leon Wildes; and legendary poet-activist John Sinclair, whose imprisonment for marijuana—a ten-year sentence for two joints—kicked off Lennon’s American journey.

Everyone thought they knew John Lennon, the self-assured “smart Beatle” whose very publicly-led life marked a generation’s milestone. The Beatles and their impact on the s have been exhaustively chronicled, yet Lennon’s “other band”—and the rowdy ride they shared to start a new decade—remains relatively unknown. In late  Lennon left London behind in search of New York residency, ready to write a new chapter in his life. What he no longer had was a band. After a dubious introduction courtesy of radical leader Jerry Rubin, Lennon made the offer of a lifetime to Elephant’s Memory, a Greenwich Village group known as much for politics as music. The band backed Lennon for a year’s worth of recordings, TV appearances, and a Madison Square Garden concert—which turned out to be Lennon’s final full-length show. Plucked from relative obscurity, the Elephants joined Lennon on a frantic tour of political activism, free speech challenges, and the evolution of rock music’s place in popular culture. The Walrus and the Elephants provides an in-depth look at Lennon as seen by the unlikely cast that followed the Beatles. Onstage and off, Elephant’s Memory and their friends joined Lennon for a remarkable year of rock and revolution. JAMES A. MITCHELL spent a decade in New York working for Firehouse and Video Business

magazines. He has written for Entertainment Weekly, The Humanist and Starlog, and has produced video features for CNN iReports. He is the author of It Was All Right: Mitch Ryder’s Life in Music and But for the Grace: Profiles in Peace from a Nation at War.

•  th   take place between summer  (International Beatles Week is August ) and February  (commemorating the Beatles’ appearance on the Ed Sullivan Show). •   interviewed for the book include: Ms. Magazine founder  ,  Rep.  , British activist and author  , Youth International party cofounder  ; ’  musicians Wayne “Tex” Gabriel, Gary Van Scyoc, and Adam Ippolito, and more. •  pages of photographs

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Nuclear War and Environmental Catastrophe

               april 2013 • 176 pages

“There are two problems for our species’ survival—nuclear war and environmental catastrophe, ” says Noam Chomsky in this new book on the two existential threats of our time and their points of intersection since World War II. While a nuclear strike would require action, environmental catastrophe is partially defined by willful inaction in response to human-induced climate change. Denial of the facts is only half the equation. Other contributing factors include extreme techniques for the extraction of remaining carbon deposits, the elimination of agricultural land for biofuel, the construction of dams, and the destruction of forests that are crucial for carbon sequestration. On the subject of current nuclear tensions, Chomsky revisits the long-established option of a nuclear-weapon-free zone (NWFZ) in the Middle East, a proposal set in motion through a joint Egyptian-Iranian General Assembly resolution in . Intended as a warning, Nuclear War and Environmental Catastrophe is also a reminder that talking about the unspeakable can still be done with humor, wit, and indomitable spirit. NOAM CHOMSKY is an internationally renowned linguist, as well as a leading radical intel-

lectual. His many political books include, from Seven Stories, -, Profit over People, and Media Control. His views have profoundly influenced both scientific and political thought around the world for the last half-century. LAR AY POLK is a multimedia artist and writer. Her articles and investigative reports have appeared in the Dallas Morning News, D Magazine, and In These Times. As a  grant recipient from The Investigative Fund at The Nation Institute, she exposed a radioactive waste disposal site in Texas situated in close proximity to the Ogallala Aquifer.

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The Body Where I Was Born          

translated from the Spanish by Jesse T. Lichtenstein may 2014 • 208 pages

“I was born with a white spot, or what others call a birthmark, on the cornea of my right eye. That spot would have been entirely insignificant if it hadn’t been right in the center of my iris.” So begins Guadalupe Nettel’s exquisite novel based on her memories of growing up in Mexico in the seventies, with a birth defect in her eye and a family intent on fixing it. From a psychoanalyst’s couch the narrator looks back on her bizarre childhood, having somehow survived the emotional havoc she went through. And survive she did, but not unscathed. In the intimate and delicately crafted narrative echoes the tender voice of the narrator’s younger self, a sharp, sensitive girl infinitely more damaged by the deformities life inflicted upon her than by her birth defect. The novel’s perfectly bare language and its smart humor, both delicate and unafraid, weave together a strand of touching, sometimes painful, sometimes delightful moments in the narrator’s unconventional childhood that crushed her, scarred her, mended her, tore her apart and made her whole. With this novel Guadalupe Nettel confirms what the critics have celebrated since her literary debut: she is one of the decade’s revelations of the Spanish language. GUADALUPE NETTEL (Mexico City, ) won the Radio France Internationale Prix de la

Meilleure nouvelle en Langue Française prize for non-French-speaking countries. For several years she has collaborated with a number of French- and Spanish-language magazines and literary supplements such as Lateral, Letras Libres, Paréntesis, La Jornada Semanal, L’atelier du roman, and L’inconvénient. Recently she earned a doctorate in literature from the University of Paris. Her novel The Guest was published simultaneously in Spanish (Anagrama) and French (Actes Sud). Her collection of short stories Pétalos (Petals) has been awarded the Gilberto Owen National Book Award and the Antonin Artaud Award for best novel. Her awardwinning work has been translated into French, Portuguese, German, Italian, Dutch, Czech, Slovak, and Swedish. She lives in Mexico City. JESSE T. LICHTENSTEIN holds degrees in literature and translation from Boston University and the American University of Paris.

The gaze [Nettel] turns on madnesses both temperate and destructive, on manias, on deviances, is so sharp that it has us seeing straight into our own obsessions. —Xavier Houssain, Le Monde Guadalupe Nettel reveals the subliminal beauty within beings of odd behavior and painstakingly examines the intimacies of her soul. —Magazine Littéraire The career of this young storyteller is worth keeping an eye on. A master of style, with a marvelous poetic naturalism, her ideas and manners distinguish her from what we are accustomed to in Mexican literature. —Joaquin Marco, El Cultural Nettel’s gaze enhances her prose as a bizarre sun might do for our world. Her syntax is so particular, her gaze so strange and unconventional that she is able to build a sustainable world that will linger inside us like a house guest, even when we have put the book down. —Valeria Luiselli, Nexos Seasoned readers will delight in this literary voice, new to the landscape of Latin American literature, a voice sophisticated as it is original. —Arcadia Guadalupe Nettel is one of the most interesting voices of the new Mexican fiction. —J. A. Masoliver Ródenas, La Vanguardia

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Infidels

         translated from the French by Amber Qureshi september 2014 • 192 pages

Shortlisted for le Prix Renaudot and le Prix Médicis in France. A novel that takes place in the shadows of a deeply corrupt Moroccan government and fuses the spiritual and the sexual, the political and the intimate in spellbinding and courageous prose reminiscent of Marguerite Duras and Pier Paolo Pasolini.

A child is found by a tomb and raised into a long family line of prostitutes, teaching her to ply her trade without shame. Her son, once born, helps her to attract clients, many of whom are Moroccan soldiers. When they come to love one soldier in particular and he is apprehended for his involvement in a rebel plot, the mother is captured and tortured, but just before her incarceration is able to send her son to Cairo with the hope that they will one day reunite. Upon meeting after three years, mother and son separately find love and Islam, unlocking spiritual doors that had previously been closed to them. But when the son finds that his lover is an Islamist terrorist, he is forced to reconcile his newfound spirituality with a sense of duty to both his mother and the man he loves. With fearless, vivid, and profoundly melancholic prose, “filled with light and space” (Bookforum), Infidels tells the singular story of two fierce souls at the intersection of religion, love, politics, and sexuality in the forgotten corners of a country coming to terms with its political and cultural identity. ABDELLAH TAÏA is a Moroccan writer who has lived in self-imposed exile in Paris since

. His previous novel, An Arab Melancholia, has been translated into seven languages. Taïa’s books deal with his life living in a homophobic society and have autobiographical background on the social experiences of the generation of Moroccans who came of age in the s and s. Taïa is emerging as a major voice from the Arab and Islamic world and one of the most interesting writers of his generation. AMBER QURESHI studied Pure Mathematics/Algebraic Topology as a Monbusho Scholar in the Graduate School of Chiba University, Japan, and has been working for over a decade as an editor of progressive, narrative fiction and nonfiction. She lives in New York City.

One of the most strong, sublime novels to come out this season. —Figaro Madame Tough and touching, violent and transgressive. —Nouvel Observateur With an unaffected poetic style that he uses to produce the most extreme tension, Abdellah Taïa has brought us a rare beauty and a great beauty. —La Cause Littéraire Abdellah Taïa: God of the Pariahs. —L’Express

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The Walls of Delhi       

translated from the Hindi by Jason Grunebaum may 2014 • 280 pages

A sweeper discovers a cache of black money and escapes to see the Taj Mahal with his underage mistress; an untouchable races to reclaim his life stolen by an upper-caste identity thief; a slum baby’s head gets bigger and bigger as he gets smarter and smarter, while his family tries to find a cure. One of India’s most original and audacious writers, Uday Prakash, weaves three stinging and comic tales of living and surviving in today’s globalized India. In his stories, Prakash portrays realities about caste and class with an authenticity rarely seen in English-language fiction about South Asia. Told in compelling, vivid, and thoroughly modern voice, sharply political but free of heavy handedness, these stories leave an imprint on the mind and heart long after the final page is turned. Author UDAY PR AK ASH is one of contemporary Hindi’s most important voices. His volumes of fiction and poetry, published over the past twenty-five years, have earned him Indian and international literary awards, and his work has been translated into ten languages. Also a filmmaker and playwright, Prakash divides his time between New Delhi and Sitapur in Madhya Pradesh. Translator JASON GRUNEBAUM ’s short stories and translations have appeared in many journals. His English translation from of Uday Prakash’s Hindi novel The Girl With The Golden Parasol was awarded a PEN Translation Fund grant and published by Penguin India. He is senior lecturer in Hindi at the University of Chicago, where he also teaches creative writing.

Remarkable stories that bring across to us some of the milieu and flavour of times, places, and languages that face extinction. What endures is the humour and humanity with which the narratives touch us. Behind the tattered grey makeshift curtains that accord these lives a notional privacy and dignity, we see the fabrics and colours of an irrepressible intelligence and imagination that makes human life what it is. —Australian Book Review Prakash’s stories are illuminated by gentle sparkles of humor and hints of magic. —Canberra Times Stolen money, stolen identities, and carnal violence weave around disappointment, disillusion and despair. These stories are rooted in a landscape of modern India so sharply evocative that it rises from the page in thick and visceral dimensions . . . Prakash remind you of the lightness of metaphor, the power of narrative and the human compulsion to stay hopeful, and connected and alive. —Weekend Australian

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Stop Here

            november 2013 • 256 pages

Ava, Mila, and Rosalyn all work at Murray’s Diner in Long Island. They are friends and coworkers struggling to hold together their disordered lives. While Ava privately grieves the loss of her husband in the first Iraq War, Mila struggles to dissuade her seventeenyear-old daughter from enlisting in the second. Rosalyn works as an escort by night until love and illness conspire to disrupt the tenuous balance she’d found and the past she’d kept at a safe distance. The promise of a new relationship with a coworker soon begins to restore Ava’s faith in her own ability to feel, and Mila learns through wrenching loss that children must learn from their own mistakes. But ultimately it is love—for one another and for their wayward families—that sustains them through the pain and uncertainty of a world with no easy answers. With tender, unadorned prose and a supremely human sympathy for the triumphs and defeats of everyday life, in this long-awaited second novel Beverly Gologorsky delivers a moving and incisive story about loss, friendship, and healing in the shadow of a seemingly endless war. BEVERLY GOLOGORSKY is the author of the acclaimed novel, The Things We Do to Make it

Home, named a Notable Book by the New York Times, Best Fiction by Los Angeles Times, and a finalist for the Barnes & Noble Discover Great Writers Award. She lives in New York City and Maine.

Unflinching, piercing, Gologorsky looks straight into the face of class in this country, capturing the reverberations across generations of who really fights our wars, who really serves our coffee, who really gets up in the dark to wipe the dinersâ&#x20AC;&#x2122; counter clean. This book is filled with an array of characters whose bravery is unsung, women who persevere with a dignity unseen by many, until Gologorsky pulls the curtain back and allows us in. â&#x20AC;&#x201D;Elizabeth Strout, author of Olive Kitteridge

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Mundo Cruel Stories

      translated by Suzanne Jill Levine march 2013 • 96 pages

Luis Negrón’s debut collection reveals the intimate world of a small community in Puerto Rico joined together by its transgressive sexuality. The writing straddles the shifting line between pure, unadorned storytelling and satire, exploring the sometimes hilarious and sometimes heartbreaking nature of survival in a decidedly cruel world. LUIS NEGRÓN was born in the city of Guayama, Puerto Rico, in . He is co-editor of Los

otros cuerpos, an anthology of queer writing from Puerto Rico and the Puerto Rican diaspora. The original Spanish language edition of Mundo Cruel, first published in Puerto Rico in  by La Secta de Los Perros, then by Libros AC in subsequent editions, is now in its fourth printing. It has never before appeared in English. Negrón lives in Santurce, Puerto Rico. SUZANNE JILL LEVINE ’s many translations include the works of Guillermo Cabrera Infante and Manuel

Puig. She is the editor of the Penguin Classics Jorge Luis Borges series and author of The Subversive Scribe: Translating Latin American Fiction. She is winner of the  the PEN Center USA Literary Award for her translation of José Donoso’s The Lizard’s Tale.

’     . ,  Rico, once known as Cangrejos, meaning Crabs, but no longer. Santurce. Blocks and blocks full of doctor’s offices and temples—Catholic, Evangelical, Mormon, Rosicrucian, Espiritista, Jewish, and yoga-ist, if that’s what you call it. The stench of sewers 24/7. Unbearable heat. Reggaeton, old school salsa, boleros, bachatas, jukeboxes, pool halls, slot machines. Topless bars, Dominican bars, gay bars. Catholic schools, beauty schools, vocational schools, and schools where you get a professional degree in just one year and without much homework. Fabric stores, arts and crafts stores, no-prescription drugstores, barbershops and hair salons. But the mecca is the 7-Eleven, which is like saying Santurce’s Plaza Las Americas. That’s where I met him.

Hilarious and heart-wrenching, provocative and pitch-perfect, each story is a tiny, transgressive explosion. I feel inadequate to the task of expressing just how wonderful this book is . . . read it slowly, and listen close; here is a master storyteller at his finest. —Justin Torres, author of We the Animals These nine stories are rude, beautiful, funny, tender, sarcastic but, above all, human. —Guillermo Barquero, Sentencias inútiles Slender but never slight, and often extremely funny . . . In the end, the reader should be left both completely satisfied and wanting more. —Publishers Weekly

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The Albino Album A Novel

       april 2013 • 560 pages

Emerging author Chavisa Woods has been noted for capturing a “strange, troubling vision of domestic life in the rural US” (Go Magazine). Here she presents a techno-colored vision of rural adolescence, the story of a girl with an unpronounceable name—a fiery, unhinged, growling, big-hearted country girl in a dirty black tutu and combat boots who travels along all the bizarre yet familiar byways of human desire from the cornfields of Indiana and the big brass sound of Mardi Gras to the heights of the Empire State Building. Turning the tradition of the southern gothic novel on its head, Woods presents a new land of contemporary misfits including fire-dancers, pseudo-Nazis who breed albino animals, gutter punks, horse thieves, and the archangel Gabriel. CHAVISA WOODS is a Brooklyn-based writer and artist, and recipient of the  Jerome

Foundation Award for emerging writers. Her debut collection of short stories, Love Does Not Make Me Gentle or Kind, was a Lambda Literary Award Finalist for Debut Fiction. Her writing has appeared in the New York Quarterly, The Evergreen Review, Union Station, and The Brooklyn Rail.

A natural and philosophical writer, Woods is propelled by her commitments to language and desire to illuminate ghettos of consciousness; geographic, economic and emotional. —Sarah Schulman, author of Rat Bohemia

The Albino Album is a 21st century fairytale: potent, grim, fierce, redemptive. . . . If Flannery O’Connor were alive today, she’d be cheering for this new voice. —Lucy Jane Bledsoe, author of

The Big Bang Symphony Devoid of pretense or fear, Woods tells a not so “normal” coming-of-age story set in the stretched-out underbelly of rural America. Smart but unworldly, Woods creates a new world for the contemporary misfit where circus performers, Catholic workers, fire jugglers, and power wives sit at the same table. A “gooble gobble” successor, Woods’s edgy sensuality doesn’t second-guess. Her language is clear, her home somewhere and nowhere. —Library Journal (2013 Spring Pick)

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Skinned

Selected Poems

        may 2013 • 176 pages

One of South Africa’s greatest living poets selects from her most recent poems and also from the poems and the themes that best represent her from across her long career. Part One of Skinned contains poems about writing, family, and love poems. The poems in the second part were chosen from a volume featuring a long epic poem based on the life of Lady Anne Barnard from Scotland, who accompanied her husband to Cape Town and lived in the castle there from 1797 until 1802. This volume was written during the height of apartheid and the poet chose Lady Anne to wrestle with a colonial vision. Part Three contains extracts from several speakers who lived in the land before the likes of Lady Anne arrived. Krog includes here interviews with inhabitants of the stone desert, re-workings of Bushmen or Xam narratives, as well as translations of oral Xhosa and Zulu praise poems. Part Four represents the political turmoil of South Africa and the divisions within Africa. The poems come from volumes that explored oppression, transformation, and the relationships between blacks and whites. And Part Five is built of recent poems that have to do with the betrayals of the body as we age. Including new poems alongside previously published ones from across the decades, Skinned explores the necessity of “a change of tongue” in order to be. ANTJIE KROG has won major awards in almost all the genres and media in which she has

worked: poetry, journalism, fiction, and translation. Krog’s first volume of poetry was published when she was seventeen years old and she has since released thirteen volumes of poetry, receiving nearly every literary award available for works in Afrikaans. She is married to architect John Samuel, and is the mother of four children.

Becomings Albacaye, Mountaga and Tidiane kneel against the dune in the plaincoloured shavings of their robes when they sit up straight - facing Mecca each forehead carries a blond blazon of sand when dusk implodes in our midst silence feeds down from a freight of stars poetry comes coming from a crackling of languages, accents, memory, translations: “the woman with the whitest eyes

folds a cloth around her breasts whether she said ‘come in’ or ‘be greeted’ I do not remember I was lost may Allah make her mine before I lose my mind” “my horses the moon the dunes they know me” “when they break my pen my words take fire when they destroy my horses and camels

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my teeth hang from their wrists when they squash my breath I scorch their palms I am the revolution! I am the nomad! I live everywhere” “I don’t think, I sing I am the poet of silence” “I am the vagabond of the word, the nomad” “I swindle with the silence of words, because I live in them they are my tent and my waterhole, my everywhere tegument”

“poetry is always busy with light” “the scars in tongues can write landscapes of breath but it has to glow from the inside” “it has to smell humane” it has to “embrace the shoulders of the stranger” “poetry is the ritual of draping sound over the unheard so as to live opened” I breathe suddenly I breathe light-footed and loose-limbed I breathe from a seam slowly sutured from scar-tissue colour and skin

The Wizard’s Tears & Other Titles                      

afterword by Maxine Kumin illustrations by Evaline Ness (The Wizard’s Tears, Joey and the Birthday Present); Leonard Shortall (Eggs of Things, More Eggs of Things) march 2014 • 160 pages Four Volumes (Eggs of Things; More Eggs of Things; The Wizard’s Tears; Joey and the Birthday Present).

The Wizard’s Tears & Other Titles is a series of four children’s books that renowned American poets Anne Sexton and Maxine Kumin wrote collaboratively beginning in  with the first of the series, Eggs of Things. By then Anne and Maxine had been friends for six years, after they first met at John Holmes’s poetry workshop at the Boston Center for Adult Education and carpooled each week from their homes in the suburbs. As Maxine recalled, the first two books of the series, Eggs of Things and More Eggs of Things were churned out in just two days “among coffee breaks, respective children’s crises, and phone calls.” The creativity and versatility required by the limited vocabulary allowed for children’s books offered the two poets the opportunity to experiment and play with language in new, unexpected ways, to connect worlds and words with humble, powerful, childlike imagery—“not unlike writing a poem, where compression acts to intensify feelings,” as Maxine reckoned. Wide-eyed, generous creatures populate these worlds of simple emotions and vivid sparks: Joey the field mouse and Prince the city mouse who “make blackberry paintings on piano keys,” and “skate on a forgotten can of bacon fat”; the young Wizard with his richly imaginative spells. “Watch the moon over your shoulder, catch a bee in a jar, and wash your face with buttermilk”; and Skippy and Buzz that create an old Easter basket telephone between their homes to send each other letters about their “eggs of things,” much like the second phone line Anne and Maxine installed in their homes so that they could read their poems to each other. Eggs of Things, More Eggs of Things, The Wizards’ Tears, and Joey and the Birthday Present are four little poems; moving and kind and funny in their own intimate and modest way, yet so strong and so incredibly full of life. They indeed are, as Prince the little mouse says in Joey and the Birthday Present, a birthday present, and “a birthday present could not run away.” At last, it is here, for every child, and for the child in us. ANNE SEXTON (–) is a world-renowned American poet, known for her highly personal, intimist verse. She won the Pulitzer Prize in  for her poetry collection Live or Die. Themes of her poetry include being a woman, her suicidal tendencies, her long battle against depression, and intimate details from her private life. Among her poetry collections, To Bedlam and Part Way Back (), The Starry Night (), All My Pretty Ones (), Live or Die (), Love Poems (), Transformations (), The Book of Folly (), The Death Notebooks (), The Awful Rowing Toward God (, posthumous),  Mercy Street (, posthumous), Words for Dr. Y. (, posthumous).

Maxine Kumin

Honored as America’s poet laureate from  to , MA XINE KUMIN has been the recipient of the Pulitzer Prize (), the Institute of Arts and Letters Award (), the Poets’ Prize (), the Ruth Lilly Poetry Prize () and the Los Angeles Times Book Prize (). In addition to her seventeen poetry collections, novels, and essay collections for adults, she is the author of many children’s books including Oh, Harry! (illustrated by Barry Moser), What Color is Caesar? (illustrated by Alison Friend), Mites to Mastodons (illustrated by Pam Zagarenski), The Microscope (illustrated by Arnold Lobel), When Great-Grandmother Was Young and When Grandmother Was Young (illustrated by Don Almquist) and Follow the Fall, Spring Things, Summer Story, and A Winter Friend (illustrated by Artur Marokvia).

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Lizzie

  illustrated by Elliott Gilbert march 2014 • 160 pages

Meet Lizzie Peterlinz, age . Paralyzed below the waist after slipping off a diving board two years ago, Lizzie does not let her wheelchair get in the way of her curiosity. She and her single mother are starting life over in a small town in Florida, where Lizzie’s hunger for knowledge and adventure lead her to some unlikely friends. She bonds with Josh, the only other disabled kid at her school, and they rejoice in normal kid activities, despite the awkward stares they face at school. And she and her mother make friends with some elderly neighbors, Teresa and Digger Martinez, who become Lizzie’s adopted grandparents, teaching her Spanish and encouraging her to embrace her life, difficulties and all. One of Lizzie’s favorite things to do is visit a run-down roadside petting zoo, run by a slow-moving gentle giant Lizzie and her mom affectionately call Henry the Huge. One afternoon, as Lizzie is exploring the fields behind the petting zoo, she comes across a shack full of screeching monkeys and the mysterious boy who cares for them. A man with a slick grin arrives on the scene, and Lizzie begins to uncover where the monkeys came from. With Josh and Digger’s help, she puts the pieces together, but it’s too late, the monkey thief strikes again and this time, it’s Lizzie who’s in danger. Honored as America’s poet laureate from  to , MA XINE KUMIN has been the recipient of the Pulitzer Prize (), the Institute of Arts and Letters Award (), the Poets’ Prize (), the Ruth Lilly Poetry Prize () and the Los Angeles Times Book Prize (). In addition to her seventeen poetry collections, novels, and essay collections for adults, she is the author of many children’s books including Oh, Harry! (illustrated by Barry Moser), What Color is Caesar? (illustrated by Alison Friend), Mites to Mastodons (illustrated by Pam Zagarenski), The Microscope (illustrated by Arnold Lobel), When Great-Grandmother Was Young and When Grandmother Was Young (illustrated by Don Almquist) and Follow the Fall, Spring Things, Summer Story, and A Winter Friend (illustrated by Artur Marokvia).

Kumin’s is a poetry of wide sympathy and tact . . . and a tart and compassionate irony. —The New Yorker Many [of these poems] invoke Kumin’s deepest, most demanding relationships . . . Kumin’s tonal clarity is transformative. —New York Times Book Review, about her poetry collection The Long

Marriage Measured but warm, this work draws you in; it is another success among her many titles. —Library Journal, about her poetry collection Jack and Other New Poems

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The Third Chimpanzee for Young People         adapted by Rebecca Stefoff april 2014 • 352 pages

At some point during the last , years, humans began exhibiting traits and behavior that distinguished us from other animals, eventually creating language, art, religion, bicycles, spacecraft, and nuclear weapons—all within a heartbeat of evolutionary time. Now, faced with the threat of nuclear weapons and the effects of climate change, it seems our innate tendencies for violence and invention have led us to a crucial tipping point. Where did these traits come from? Are they part of our species immutable destiny or is there hope for our species’ future if we change? With fascinating facts and his unparalleled readability, Diamond intended his book to improve the world that today’s young people will inherit. Triangle Square’s The Third Chimpanzee for Young People is for them and the future they’ll help build. JARED DIAMOND is professor of geography at the University of California, Los Angeles.

He has published over  articles in Discover, Natural History, Nature, and Geo magazines. He is the author of several books including Guns, Germs, and Steel, which was awarded the Pulitzer Prize and has sold over . million copies, the international bestseller Collapse, and the recently published The World Until Yesterday: What Can We Learn from Traditional Societies? REBECCA STEFOFF is the award-winning author of more than one hundred nonfiction books for children and young adults, including A Young People’s History of the United States and A Different Mirror for Young People.

Praise for The Third Chimpanzee: Informative, most fascinating, and very readable . . . highly recommended. â&#x20AC;&#x201D;Library Journal Everyone will enjoy reading this brilliant book. It helps us understand what it means to be human. â&#x20AC;&#x201D;Paul Ehrlich, Stanford University, and author of The Population Bomb

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What Makes a Baby         illustrations by Fiona Smyth may 2013 • 36 pages • ages 3–7

Geared to readers from preschool to age seven, What Makes a Baby is a book for every kind of family and every kind of kid. It is a twenty-first century children’s picture book about conception, gestation, and birth, which reflects the reality of our modern time by being inclusive of all kinds of kids, adults, and families, regardless of how many people were involved, their orientation, gender and other identity, or family composition. Just as important, the story doesn’t gender people or body parts, so most parents and families will find that it leaves room for them to educate their child without having to erase their own experience. Written by sexuality educator Cory Silverberg, and illustrated by award-winning Canadian artist Fiona Smyth, What Makes a Baby is as fun to look at as it is useful to read. Raised by a children’s librarian and a sex therapist, CORY SILVERBERG grew up to be a sexuality educator and writer. He received his Masters of Education from the University of Toronto, and was a founding member of the Come As You Are Co-operative. He teaches across North America on topics including sexual communication, sexuality and disability, technology, access, and inclusion. Cory is the Sexuality Guide for About.com and the coauthor of The Ultimate Guide to Sex and Disability with Miriam Kaufman and Fran Odette. What Makes a Baby is the first book in a series of kid’s books Cory is writing for Seven Stories Press about sexuality, sexual health, and gender. FIONA SMYTH is a Toronto-based painter, illustrator, and cartoonist. Her first graphic novel, The Never Weres, was published in . Fiona teaches illustration and comics at OCAD U in Toronto.

COMING SOON Sex Is a Funny Word For ages 7 and up Fall 2014 The second book from sex educator Cory Silverberg, Sex is a Funny Word provides a necessary resource for elementary-aged children who are now able to understand more of the world around them. A hybrid picture/comic book, Sex is a Funny Word explores

An appealing and informative complement to early sexeducation discussions with any child. â&#x20AC;&#x201D;Kirkus (Starred Review)

issues related to the body including body parts, personal boundaries, sexual health and development, sexualization (what it means to be sexy), as well as family structure, using age-appropriate language and images. As with What Makes a Baby, this book opens up conversations between young people and their caregivers in a way that allows adults to convey their values and beliefs, while providing information that will help young people stay safe and develop in a healthy way. The book is written to be inclusive of parents and children regardless of gender, sexual identity, sexual orientation, or family makeup.

Untitled Book 3 For ages 10 and up Spring 2015 Geared to children entering adolescence, the third book in the series offers more detailed information on the topics covered in Sex is a Funny Word and adds topics that are more conceptual and age appropriate including puberty, sexual activities, STIs and HIV/AIDS, pornography, contraception (birth control), healthy relationships, sexual feelings and romantic or love feelings, and gender identity. Designed in comic book/ graphic novel form, with a more sophisticated use of illustrations to appeal to an older reader, Untitled Book 3 will help adolescents and their parents or caregivers understand the coming shift from a focus on the self to a focus on the other that comes with puberty. Book 3 is appropriate for adolescents to read on their own, but continues the tradition of the series of offering key questions that the reader is encouraged to discuss with parents or caregivers. World Rights: Rights sold in Lithuania (Versus Aureus) 47

A is for Activist

                  

            november 2013 • 28 pages

A is for Activist is an ABC board book written and illustrated for the next generation of progressives: families that want their kids to grow up in a space that is unapologetic about activism, environmental justice, civil rights, LGBTQ rights, and everything else that activists believe in and fight for. The rhyming, and vibrant illustrations make the book exciting for children, while the issues it brings up resonate with their parents’ values of community, equality, and justice. This engaging little book carries huge messages as it inspires hope for the future, and calls children to action while learning their ABC’s. INNOSANTO NAGAR A was born and raised in Indonesia, and moved to the US in 

to study zoology and philosophy at UC Davis. Upon graduation, he moved to the Santa Fe Bay Area, where he worked as a freelance graphic designer for a range of social change organizations, before founding the Design Action Collective, a worker owned cooperative design studio in Oakland, California.

Occupy’s 99 percent get a children’s book.—Washington Times Full of wit, beauty and fun, we can think of no better way to learn the alphabet! —Naomi Klein, author of The Shock Doctrine and No Logo This is the perfect gift for every child—and every parent. Fun, funny, exquisitely illustrated and brilliantly written with a message that is sure to resonate with kids, who have an innate sense of fairness. May a thousand young activists bloom! —Medea Benjamin, cofounder Global Exchange and Code Pink I wish this beautiful and inspiring book was around when my daughter was young but fortunately there are plenty of cool children around today who will devour what Inno is serving up! —Dan Zanes, maker of the Grammy Award winning album Catch that Train! A book to grow on, and return to again and again for many years! —Rethinking Schools

World Rights 49

Fight the Power

A Visual History of Protest Among the English Speaking Peoples

                     

illustrated by Hunt Emerson, John Spelling, and Adam Pasion september 2013 • 192 pages

An alternative to the history books that focus on war and world leaders, Fight the Power! is a graphic novel that explains the history of ordinary people fighting against oppression of various kinds.

According to Gandhi, the Four Stages of Protest are as follows: First they ignore you. Then they ridicule you. Then they fight you. Then you win! In Fight the Power!, comics authors Sean Michael Wilson and Benjamin Dickinson team up with illustrators Hunt Emerson, John Spelling, and Adam Pasion to show how this process has been played out again and again throughout history—and has slowly but surely led to hard-won rights for the people along the way. Focusing on the Englishspeaking nations, Wilson and Dickinson chronicle the struggles of the Luddites and Swing Riots in the early s, through the Irish Rebellions that lasted through ; from the suffragettes in  to Rosa Parks and the bus boycott of the mid-s; from the trial of Nelson Mandela to the Occupy movement that has only just begun. By illuminating the variety of protests—and the valuable connections among them— through an accessible art form, Fight the Power! shows that there is a point to the struggle, fight by fight, win by win. SEAN MICHAEL WILSON is a comic book writer from Scotland, currently based in Japan,

who has written fourteen books of comics and manga. His work includes a version of Charles Dickens’s A Christmas Carol (with artist Mike Collins); Emily Brontë’s Wuthering Heights; Oscar Wilde’s A Canterville Ghost; The Japanese Drawing Room (with RING horror manga artist Sakura Mizuki); and the documentary book Iraq: Operation Corporate Takeover (with artist Lee O’Connor). His version of Sweeney Todd (with artist Declan Shalvey) is forthcoming. He is presently editing the second volume of the critically acclaimed AX: Alternative Manga; the first volume was selected as one of the top ten comic books of  by Publishers Weekly. Wilson has received several grants from both the English arts council and the Great Britain Sasakawa Foundation in support of his Japan-related publications.

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The Minimum Security Chronicles Resistance to Ecocide

               september 2013 • 160 pages

From the Winner of the  Robert F. Kennedy Journalism Award.

The Minimum Security Chronicles is a graphic novel telling the story of a group of friends who try to save the world from ecocide. As the five main characters attempt to fight back in various ways against the system that’s killing the planet, they advocate different strategies and test them out, discovering their limitations through experience. The strengths and flaws of the different characters push them to respond in different ways to various situations. Will the handcuffed prisoners escape before the bomb goes off? What happens when surveillance cameras catch our protagonists in the act? Will they be able to stop secret plans for geo-engineering? There is a huge body of revolutionary political theory and strategy developed over the last two centuries, that is extremely valuable. But most people don’t have the desire or inclination to dig into all that to find what is applicable to our time and place. In the story, the characters try many different strategies, learning lessons about what works and what doesn’t, exploring various scenarios and building a resistance movement. The Minimum Security Chronicles is a unique work: a political graphic novel that discusses contemporary revolutionary strategy in narrative form. As McMillan remarked “My hope is that it gets passed around circles of people who want to work for a better society and heal the planet, and that it will encourage and inspire them to create their own visions of how to do that.” STEPHANIE McMILLAN has been a political cartoonist since . She self-syndicates Code

Green, a weekly editorial cartoon focused on the environmental emergency, and creates the comic strip Minimum Security five days a week for Universal Uclick. Her award-winning cartoons have appeared in hundreds of publications worldwide including the Los Angeles Times, the South Florida Sun-Sentinel, Daily Beast, Yes! magazine, the San Francisco Bay Guardian, plus many textbooks and anthologies. McMillan has been an activist since the early s, and has given presentations at political conferences such as the Left Forum and Sierra Summit.

McMillan’s expressive style, pared down to the basics and intensified over the years, allows for instant communication of thoughtful rage. —Comics Journal This is social satire at its wittiest and most engaging.—Howard Zinn Her politics are perfect, her drawings sly and subtle, and her dialog funny as hell.—Derrick Jensen

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The Graphic Canon, Volume 

From Heart of Darkness to Hemingway to Infinite Jest

   

june 2013 • 576 pages

The Graphic Canon: Editors’ Choice in the New York Times Book Review.

The third volume of Russ Kick’s groundbreaking canon includes work by more than  of today’s best comics artists, illustrators, and other visual artists. Volume  brings to life the literature of the twentieth century, from the Modernists to the Postmodernists, through the Beats, magical realism, Existentialism, jazz, southern gothic, avant-garde science fiction, hard-boiled detective fiction, war poetry, theoretical physics. . . . Here Ted Rall brings his signature style to Sherwood Anderson’s Winesburg, Ohio, Dame Darcy adapts Cormac McCarthy, Milton Knight reacquaints readers with a littleknown play by Zora Neale Hurston, Molly Crabapple renders a Colette novel as a single tantalizing image, and Molly Kiely does a striking Kathy Acker, among seventy-five other pieces, including hard-to-find short works by Faulkner, Hemingway, Pynchon, and Robert Crumb’s rarely seen adaptation of Sartre’s Nausea. With Kafka considered by both R. Sikoryak and Peter Kuper, and Ulysses represented by David Lasky and Robert Berry with Josh Levitas, Volume  rounds out this unprecedented trilogy with extraordinary heft, as complex and enlightening as the history of literature itself. The New York Times dubbed best-selling anthologist RUSS KICK (You Are Being Lied To and Everything You Know Is Wrong, among others) “an information archaeologist,” and Utne Reader named him one of its “ Visionaries Who Are Changing Your World.” Then, in , Kick embarked on an entirely new kind of project, returning to his love of literature and art and to comics art in particular. For his groundbreaking new series of books The Graphic Canon, the world’s great literature as comics and visuals, Kick has commissioned new work from over  artists, as well as re-introduced existing work that wasn’t easy to find, identifying the artists and works contributing to a shift in the reading experience, expanding readers’ visual vocabulary through the creation of a new kind of canon.

 - by george orwell • illustration by lesley barnes

 by colette • illustration by molly crabapple

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“The Graphic Canon is startlingly brilliant.” —School Library Journal “ This meaty slab is laced with more wit, beauty, social commentary and shock than one might expect. . . .” —Kirkus Reviews “ This is not only a survey of the world’s diverse artistic past, but also a breathtaking glimpse of this young medium’s incredible future.” —Booklist (starred review) “The graphic publishing literary event of the year.” —Publishers Weekly “An exciting new benchmark for comics!” —Library Journal “ The Graphic Canon is absolutely the most ambitious book I’ve picked up this year.” —Newsday

 by j. g. ballard • art/adaptation by onsmith

  by Franz kaFka • illustrations by peter kuper

“Bold, brilliant. . . . By turns playful and beautiful, this visual treatment is more than entertainment; it offers a new perspective for understanding these enduring works.” —Reader’s Digest “A treasure trove for literary comics fans.” —Wired’s GeekDad blog “It takes time to read this book, but it is a book worth taking time over.” —The Comics Journal

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“Every page sends you further down the rabbit hole, and before you know it, hours have passed . . . [T]hese works of literature do not reside just on the shelves of academia; they flourish in the eye of our imagination.” —The New York Times Book Review “A kicky examination of love, sex, death, violence, revolution, money, drugs, religion, family, (non)conformity, longing, transcendence, and other aspects of the human condition that literature and art have always wrestled with.” —Russ Kick, from the introduction to The Graphic Canon, Volume 3

’  by umberto eco • art/adaptation by julia gFrörer

World Rights: Rights sold in France (Éditions Télémaque), Germany (Galiani), Poland (W.A.B.), Turkey (Kolektif), and Brazil (Boitempo)

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The Graphic Canon of Children’s Literature The Definitive Anthology of Kid’s Lit as Graphics and Visuals       

   

may 2014 • 448 pages

Great children’s literature is great literature, period. And it’s not just for children. The original three-volume anthology The Graphic Canon presented the world’s classic literature—from ancient times to the late twentieth century—as eye-popping comics, illustrations, and other visual forms. In this followup volume, young people’s literature through the ages is given new life by the best comics artists and illustrators. Fairy tales, fables, fantastical adventures, young adult novels, swashbuckling yarns, your favorite stories from childhood and your teenage years . . . they’re all here, in all their original complexity and strangeness, before they were censored, dumbed-down, or sanitized. Underground comics pioneer Roberta Gregory shows us a new look for The Jungle Book by Kipling. The legendary Dame Darcy gives us an astonishing black-and-white telling of the original “Little Mermaid,” which is much darker than the Disney version (spoiler alert: The Little Mermaid kills herself in the end). Ariel Schrag visualizes the entire “Old Mother Hubbard,” which, like most nursery rhymes, is deeply strange. Ted Rall—famous for his political cartooning—brings to life “The Fisherman and His Wife” by the Brothers Grimm. Rick Geary gives a whimsical take on “The Owl and the Pussycat” by nonsense poet Edward Lear. All the Oz books, The Nutcracker, Alice in Wonderland, Aesop’s fables, The Secret Garden, Peter Pan, Beatrix Potter, Pippi Longstocking, Charlie and the Chocolate Factory, Jules Verne, Judy Blume, The Hardy Boys, The Outsiders, Harry Potter, The Hunger Games, and more favorites are now presented in an astounding variety of graphic styles and techniques—from old-school comics to silkscreen illustrations, from painted panels to whimsical sketches, from collages to lush, atmospheric sequences.

The New York Times dubbed best-selling anthologist RUSS KICK (You Are Being Lied To and Everything You Know Is Wrong, among others) “an information archaeologist,” and Utne Reader named him one of its “ Visionaries Who Are Changing Your World.” Then, in , Kick embarked on an entirely new kind of project, returning to his love of literature and art and to comics art in particular. For his groundbreaking new series of books The Graphic Canon, the world’s great literature as comics and visuals, Kick has commissioned new work from over  artists, as well as re-introduced existing work that wasn’t easy to find, identifying the artists and works contributing to a shift in the reading experience, expanding readers’ visual vocabulary through the creation of a new kind of canon.

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HOT & SELLING God in Pain                     Rights sold in Brazil (Autêntica), Spain and Latin America (Akal), Germany (Laika), Turkey (Sel Yayincilik), Korea (Munhakdongne), China (Central Compilation and Translation Press)

The Rich Don’t Always Win          Rights sold in Korea (Sigongsa)

Media Control      Rights sold in Germany (Piper), France and Canada (Écosociété), Estonia (Raudsepp), Serbia (Rubikon), Turkey (Everest), Japan (Shueisha), and India (Kalachuvadu)

Voices of a People’s History of the United States                     Rights sold in Italy (il Saggiatore), Korea (Siwol) and China (Beijin Xiron Books)

For more information on any of our titles, please contact: Silvia Stramenga, Rights Director silvia@sevenstories.com Dan Simon, Publisher dansimon@sevenstories.com Seven Stories Press 140 Watts Street New York, ny 10013 usa phone + 1 212 226 8760 fax + 1 212 226 1411 www.sevenstories.com www.facebook.com/sevenstories www.facebook.com/trianglesquarebooks twitter.com/7storiespress