There's no one Karl Lion loves more than his older brother, Jonathan, who is brave, strong, and handsome - everything Karl believes he is not. Karl never wants to be parted from him. But Karl is sick, and knows he's going to die. To comfort him, Jonathan tells him stories of Nangiyala, the wonderful place he'll be going to when he dies, and where he will wait until Jonathan is ready to join him there. Then the unthinkable happens . . . Jonathan is killed in an accident. Heartbroken, Karl longs for the day he'll be reunited with his brother. When the time comes, he finds Nangiyala just as wonderful as he'd imagined. However, Nangiyala is under threat. A cruel tyrant is determined to claim it as his own, and at his command is a terrible beast that is feared throughout the land. Karl must summon all of his courage to help his brother prepare for the battle that lies ahead . . . 'I adored Astrid Lindgren as a child' Francesca Simon, author of the 'Horrid Henry' books.

'During the Tang dynasty, the Chinese artist Wu Tao-tzu was one day standing looking at a mural he had just completed. Suddenly, he clapped his hands and the temple gate opened. He went into his work and the gates closed behind him.' Thus begins Sven Lindqvist's profound meditation on art and its relationship with life, first published in 1967, and a classic in his home country - it has never been out of print. As a young man, Sven Lindqvist was fascinated by the myth of Wu Tao-tzu, and by the possibility of entering a work of art and making it a way of life. He was drawn to artists and writers who shared this vision, especially Hermann Hesse, in his novel Glass Bead Game. Partly inspired by Hesse's work, Lindqvist lived in China for two years, learning classical calligraphy from a master teacher. There he was drawn deeper into the idea of a life of artistic perfectionism and retreat from the world. But when he left China for India and then Afghanistan, and saw the grotesque effects of poverty and extreme inequality, Lindqvist suffered a crisis of confidence and started to question his ideas about complete immersion in art at the expense of a proper engagement with life. The Myth of Wu Tao-tzu takes us on a fascinating journey through a young man's moral awakening and his grappling with profound questions of aesthetics. It contains the bracing moral anger, and poetic, intensely atmospheric travel writing Lindqvist's readers have come to love.

"Exterminate All the Brutes" is a searching examination of Europe’s dark history in Africa and the origins of genocide. Using Joseph Conrad’s Heart of Darkness as his point of departure, Sven Lindqvist takes us on a haunting tour through the colonial past, interwoven with a modern-day travelogue. Retracing the steps of European explorers, missionaries, politicians, and historians in Africa from the late eighteenth century onward, the author exposes the roots of genocide in Africa via his own journey through the Saharan desert. As Lindqvist shows, fantasies not merely of white superiority but of actual extermination—"cleansing" the earth of the so-called lesser races—deeply informed European colonialism and racist ideology that ultimately culminated in Europe’s own Holocaust. Chosen as one of the Best Books of 1998 by the New Internationalist, which called it "a beautifully written integration of criticism, cultural history, and travel writing, underpinned by a passion for social justice," "Exterminate All the Brutes" is a powerful reckoning with the past and an indispensable contribution to the literature of colonial Africa and European genocide.

Sven Lindqvist is one of our most original writers on race, colonialism, and genocide, and his signature approach--uniting travelogues with powerful acts of historical excavation--renders his books devastating and unforgettable.
Now, for the first time, Lindqvist's most beloved works are available in one beautiful and affordable volume with a new introduction by Adam Hochschild. "The Dead Do Not Die" includes the full unabridged text of ""Exterminate All the Brutes,"" called "a book of stunning range and near genius" by David Levering Lewis. In this work, Lindqvist uses Joseph Conrad's "Heart of Darkness" as a point of departure for a haunting tour through the colonial past, retracing the steps of Europeans in Africa from the late eighteenth century onward and thus exposing the roots of genocide via his own journey through the Saharan desert.
The full text of "Terra Nullius" is also included, for which Lindqvist traveled 7,000 miles through Australia in search of the lands the British had claimed as their own because it was inhabited by "lower races," the native Aborigines--nearly nine-tenths of whom were annihilated by whites. The shocking story of how "no man's land" became the province of the white man was called "the most original work on Australia and its treatment of Aboriginals I have ever read . . . marvelous" by Phillip Knightley, author of "Australia."

On Midsummer's Eve, 1974, Annie Raft arrives with her daughter Mia in the remote Swedish village of Blackwater to join her lover Dan on a nearby commune. On her journey through the deep forest, she sumbles upon the site of a grisly double murder--a crime that will remain unsolved for nearly twenty years, until the day Annie sees her grown daughter in the arms of one man she glimpsed in the forest that eerie midsummer night.
Like" Gorky Park "and "Smilla's Sense of Snow, Blackwater" is a unique trhiller in which the hearts and minds of the characters are as strikingly compelling as the exotic northern landscape that envelops them.

First published in Sweden in 1976, "Children's Island" increased the popularity and critical acclaim of its author, P. C. Jersild. The novel, which has sold more than 400,000 copies in Sweden alone, has been translated into French, German, Dutch, and Czechoslovakian. A film was made out of it. The University of Nebraska Press is the first to make available in English a book in some ways reminiscent of J. D. Salinger's "The Catcher in the Rye,"
"Children's Island" is told from the point of view of a ten-year-old boy, Reine Larsson, who succeeds in "not" going to summer camp. Reine stays home because time is running out: puberty, sexual desire, adulthood are threatening to rob him of the energy he needs to find the answers to life's dilemmas. He lulls his divorced mother into thinking he has gone to camp and confronts the task of supporting his love for McDonald's hamburgers. What he finds in Stockholm--a kind of Children's Island all its own--is a series of often hilarious adventures that help Jersild define contemporary society. It's a society of isolation, violence, and aggressive commercialism, a society actually much more threatening to Reine's psyche and well-being than the changes taking place within his own body. The revulsion he feels for his sexuality and that of others becomes symbolic of the alienation that defines the world Reine grows up in. Robert E. Bjork, general editor of the Modern Scandinavian Literature in Translation series, calls "Children's Island" "an extremely entertaining, extremely funny, and very serious book."

Dea Trier Morch depicts with uncommon skill an experienec that pays no attention to language differences or national boundaries: childbirth. Set in a maternity ward for difficult cases, her novel is unique in focusing on the weeks immediately before and after delivery. While December gives way to the new year the women enocunter the private anxieties and mysteries of motherhood, sharing a profound sense of solidarity and warmth in the midst of winter.Joan Tate's superb translation of the European best-seller introduces Dea Trier Morch to American readers. Morch, the author of five other books and the mother of three children, has illustrated her novel with striking block prints.