In Nomad, the 2010 follow up to her earlier memoir Infidel, human rights activist Hirsi Ali gives a brief update on her life since moving to the United States. Through telling her highly personal story, she develops her philosophy and discusses the efforts to ensure that "women everywhere, of all cultures, merit access to education and basic human rights."
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Michelle Latiolais has a rapacious love of words. She plays with them, rolls them around in her mouth, ruminates on their meanings and their origins, reads them backwards even, and links them to other words, constantly coming to different insights and enjoyment of the language.
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It is interesting to read a book that you are certain will be a love story—though you aren't sure whether happy or ill-fated, requited or unrequited—only to find yourself perpetually poised, waiting for that romance to start. Haruki, an illustrator of books, and Celina, an embroidery artist, meet by chance on a subway in Rio de Janeiro.
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How does one escape? From what one does one need to escape? Why? Ana Menéndez's new collection of interlinked tales is all about escape artists, starting with the author herself. Each tale is attributed to a concocted author, for whom Menéndez has supplied an appropriately imaginative biographical note, including one for herself: "Ana Menéndez is the pseudonym of an imaginary writer and translator, invented, if not to lend coherence to this collection, at least to offer it the pretense of contemporary relevance."
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A runaway bestseller when it was published in Sweden in 1910, and now a classic, Elin Wagner's Penwoman was "the book of the Swedish women's suffrage movement" according to translator Sarah Death. Now 100 years old, Penwoman remains a captivating story that convincingly transports the reader back to the beginning of the twentieth century, but also reaches ahead to the twenty-first and speaks to the gender inequality that still exists.
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