'An indispensable account' - Sunday Times 'Moving and devastating' - The Literary Review 'An intimate, highly sensory self-portrait' - Sunday Telegraph (Five Stars) FIRST MEMOIR ABOUT CHINA'A 'RE-EDUCATION' CAMPS BY A UYGHUR WOMAN Since 2017, one million Uyghurs have been seized by the Chinese authorities and sent to 're-education' camps, in what the US Government and human rights groups describe as a genocide. Few have made it out to the West. One is Gulbahar Haitiwaji. For three years, she endured hundreds of hours of interrogations, freezing cold, forced sterilisation, and a programme of de-personalisation meant to destroy her free will and her memories. This intimate account reveals the long-suppressed truth about China's gulag. It tells the story of a woman confronted by an all-powerful state bent on crushing her spirit - and her battle for freedom and dignity. Extract 'In the camps, the 're-education' process applies the same remorseless method to destroying all its victims. It starts out by stripping you of your individuality. It takes away your name, your clothes, your hair. There is nothing now to distinguish you from anyone else. 'Then the process takes over your body by subjecting it to a hellish routine: being forced to repeatedly recite the glories of the Communist Party for eleven hours a day in a windowless classroom. Falter, and you are punished. So you keep on saying the same things over and over again until you can't feel, can't think anymore. You lose all sense of time. First the hours, then the days.' - Gulbahar Haitiwaji Reviews 'Gulbahar's memoir is an indispensable account, which makes vivid the stench of fearful sweat in the cells, the newly built prison's permanent reek of white pain. It closely corresponds with other witness statements, giving every indication of being very reliable. Most impressive is her psychological honesty.' - John Phipps, Sunday Times 'Huge efforts have been made to obfuscate the realities of life in the camps (even speaking openly in Xinjiang about them can lead to incarceration). Although their existence has been well documented abroad and grudgingly admitted by the Chinese state, relatively few first-hand accounts of what actually goes on inside them have emerged. One is Gulbahar Haitiwaji's moving and devastating How I Survived a Chinese 'Re-education' Camp.' - Roderic Wye, Literary Review 'There follows an intimate, highly sensory self-portrait, created with the help of Rozenn Morgat (a journalist with Le Figaro), of an educated woman passing through a system that appears at turns cruel, paranoid, capricious and devastatingly effective. It begins with the confiscation of Haitiwaji's passport and a police interrogation during which she is shown a photograph of her daughter attending a Uyghur demonstration in Paris. One of the interrogators starts bawling at her - "Your daughter's a terrorist!" and before long Haitiwaji is plunged into a bewildering world of shackles, bunks and beaten-earth floors; grey gruel and stale bread served up by deaf-mute cooks selected for their silence; the sounds and smells of the communal toilet-bucket; and the buzz of security camera motors as they scan the cell.' ***** - Christopher Harding, Sunday Telegraph Translated from the French book Rescapee du goulag chinois (Equateurs), How I Survived a Chinese Reeducation Camp is a riveting insight into an authoritarian world. A true story, it reads like a 21st Century version of George Orwell's 1984 set in modern China.

A compelling memoir that focuses on the intersectionality of race and sexuality experienced by a gay Asian immigrant man living in a white world.   Born to Chinese-Cambodian parents in France, Jean-Baptiste Phou has pursued a diverse artistic career since 2008. Through his public views and artistic works, he has focused mainly on the experiences of Asians in France. Up until now, he’s always been careful not to raise issues of sexuality—in particular, his homosexuality.   In this searing memoir, Phou faces his fears and shame to examine the role his ethnic origin has played in the construction of his sexual identity and his romantic relationships in a predominantly white environment. An astute observer of the various ways in which his body has been perceived, Phou explores how these perceptions have shaped his relationship with himself and others. How does a marginalized person develop emotionally and build, reclaim, and express their sexuality? Drawing on various works of history, sociology, gender studies, literature, and popular culture, Phou sensitively examines various strategies developed in response to this question.   Being gay in a largely straight world is difficult but being Asian within this sexual minority can be a doubly oppressive experience. Coming Out of My Skin deftly tackles this challenge and aspires for a reconciliation that can empower people of sexual and racial minorities to joyfully inhabit their bodies.

First published in French in 1950 in a limited edition of 100 copies, then republished in 1953 (and enthusiastically praised by Andre Breton), The Conductor and Other Tales is Jean Ferry's only published book of fiction. It is a collection of short prose narratives that offer a blend of pataphysical humor and surreal nightmare: secret societies so secret that one cannot know if one is a member or not, music-hall acts that walk a tightrope from humor to horror, childhood memories of a man never born, and correspondence from countries that are more states of mind than geographical locales. Lying somewhere between Kafka's parables and the prose poems of Henri Michaux, Ferry's tales read like pages from the journal of a stranger in a familiar land. Though extracts have appeared regularly in Surrealist anthologies over the decades, The Conductor has never been fully translated into English until now. This edition includes four stories not included in the original French edition and is illustrated throughout with collages by Claude Ballare."

The twenty-first century has witnessed an explosion of speculative fiction in translation (SFT). Rachel Cordasco examines speculative fiction published in English translation since 1960, ranging from Soviet-era fiction to the Arabic-language dystopias that emerged following the Iraq War. Individual chapters on SFT from Korean, Czech, Finnish, and eleven other source languages feature an introduction by an expert in the language's speculative fiction tradition and its present-day output. Cordasco then breaks down each chapter by subgenre--including science fiction, fantasy, and horror--to guide readers toward the kinds of works that most interest them. Her discussion of available SFT stands alongside an analysis of how various subgenres emerged and developed in a given language. She also examines the reasons a given subgenre has been translated into English. An informative and one-of-a-kind guide, Out of This World offers readers and scholars alike a tour of speculative fiction's new globalized era.

"Pascin," a biography of the noted Jewish modernist painter (Julius Mordecai Pincas, known as Pascin, March 31, 1885-June 5, 1930), is Joann Sfar's most personal and important work. Pascin is portrayed by Sfar both as a kindred spirit and an aesthetic revolutionary struggling to redefine an art form. Sfar revels in the artist's celebration of all things corporeal in the world of art. Though the story is drenched in sex, it is never eroticized. Created in a direct and immediate drawing style, Sfar focuses more on the artist's personal and sexual life than on his art, and brings Pascin to life as the ultimate bohemian.

Joann Sfar is considered one of the most important artists of the new wave of European comics. He is the author and artist on a great number of acclaimed graphic novels including "The Rabbi's Cat," "Klezmer: Tales of the Wild East," "Vampire Loves," and "Dungeon." He wrote and directed "Gainsbourg: Une Vie Heroique," the biopic of the illustrious French songwriter and singer. The film was released in 2010 to international acclaim.

The son of an Algerian immigrant, Idir is a disappointment to his doctor father. Torn between his wealthy school friends and his neighborhood pals, who range from petty thieves to professional criminals, Idir operates easily between worlds, and yet is at home nowhere. Without much effort, Idir becomes one of the Parisian upper crust's most sought-out private dicks, thanks to his understanding of the needs of his privileged clients. The only thing standing in his way is Idir's unfortunate habit of crying uncontrollably. Things change when Oscar Crumley, a wealthy media scion that Idir knew at university, reappears in Idir's life, hiring him to find his missing younger half-brother, Thibaut. Idir assumes it is an open and shut case. But when Idir discovers that Thibaut was hiding his homosexuality from his conservative family, his disappearance takes on sinister connotations. Distracted by his intense affair with the wife of a wealthy friend, Idir ultimately becomes embroiled in a war of lies and corruption between two of France's most powerful media conglomerates. Inspired by Chandler and the American greats, Guez uses the familiar tropes of noir to create an entirely new language.