Rude Talk In Athens

Reporting for the Los Angeles Times on the international blind tasting competition held annually in Amsterdam known as the Cannabis Cup, novelist Mark Haskell Smith sampled a variety of marijuana that was unlike anything he’d experienced. It wasn’t anything like typical stoner weed, in fact it didn’t get you stoned. This cannabis possessed an ephemeral quality known to aficionados as “dankness.” Armed with a State of California Medical Marijuana recommendation, he begins a journey into the international underground where super-high-grade marijuana is developed and tracks down the rag-tag community of underground botanists, outlaw farmers, and renegade strain hunters who pursue excellence and diversity in marijuana, defying the law to find new flavors, tastes, and effects. This unrelenting pursuit of dankness climaxes at the Cannabis Cup, which Haskell Smith vividly portrays as the Super Bowl/Mardi Gras of the world's largest cash crop.

WINNER OF THE 2022 PEN/FAULKNER AWARD FOR FICTION By National Book Award and the National Book Critics' Circle Award finalist for An Unnecessary Woman, Rabih Alameddine, comes a transporting new novel about an Arab American trans woman's journey among Syrian refugees on Lesbos island. Mina Simpson, a Lebanese doctor, arrives at the infamous Moria refugee camp on Lesbos, Greece, after being urgently summoned for help by her friend who runs an NGO there. Alienated from her family except for her beloved brother, Mina has avoided being so close to her homeland for decades. But with a week off work and apart from her wife of thirty years, Mina hopes to accomplish something meaningful, among the abundance of Western volunteers who pose for selfies with beached dinghies and the camp's children. Soon, a boat crosses bringing Sumaiya, a fiercely resolute Syrian matriarch with terminal liver cancer. Determined to protect her children and husband at all costs, Sumaiya refuses to alert her family to her diagnosis. Bonded together by Sumaiya's secret, a deep connection sparks between the two women, and as Mina prepares a course of treatment with the limited resources on hand, she confronts the circumstances of the migrants' displacement, as well as her own constraints in helping them. Not since the inimitable Aaliya of An Unnecessary Woman has Rabih Alameddine conjured such a winsome heroine to lead us to one of the most wrenching conflicts of our time. Cunningly weaving in stories of other refugees into Mina's singular own, The Wrong End of the Telescope is a bedazzling tapestry of both tragic and amusing portraits of indomitable spirits facing a humanitarian crisis.

The first attempt that has ever been made to give a comprehensive account of the religious life of ancient Athens.

This tale of a pot grower in peril is “as cockeyed and riotous as Carl Hiaasen on really good dope” (Kirkus Reviews). Miro Basinas is an experimental botanist who sells his rarefied product to a discerning clientele. Only Miro is not growing heirloom tomatoes or making organic wine—he’s growing weed. And when Miro hits the big time by winning Amsterdam’s famed Cannabis Cup, cannasseurs and ganjaficionados aren’t the only people who want a piece of him and his mind-blowing pot that tastes like mangoes—and Miro is quickly hit with a bullet. A mild-mannered hipster who doesn’t know the first thing about revenge—or even who shot him—Miro is soon on a quest to recover his prize invention and to secure his place as the Floyd Zaiger (creator of the pluot) of weed. It’s a journey packed with a delicious cast of characters, including a string-theory obsessed cop, a kinky paramedic, a Mormon missionary struggling to keep his “sap” under control in a city that is the personification of sex, a half-Irish-half-Salvadoran drug dealer and his dim-witted associates, a cougar starlet, and an entrepreneur who wants to turn his medical marijuana Compassion Centers into the Starbucks of pot. Baked is a hilarious, rip-roaring romp from a talented, utterly original novelist. “Very funny . . . A sweet love story, raunchy sex, outrageous behavior, and a couple of murders.” —The Boston Globe “Murder, mayhem, marijuana and Mormons—what more could you ask for in a crime novel?” —Lisa Lutz, New York Times–bestselling author of The Spellman Files and The Passenger

Capturing the antic outrageousness and lyrical brilliance of antiquity’s greatest comedies, Aaron Poochigian’s Aristophanes: Four Plays brings these classic dramas to vivid life for a twenty-first century audience. The citizens of ancient Athens enjoyed a freedom of speech as broad as our own. This freedom, parrhesia, the right to say what one pleased, how and when one pleased, and to whom, had no more fervent champion than the brilliant fifth-century comic playwright Aristophanes. His plays, immensely popular with the Athenian public, were frequently crude, even obscene. He ridiculed the great and the good of the city, showing up their hypocrisy and arrogance in ways that went far beyond the standards of good taste, securing the ire (and sometimes the retaliation) of his powerful targets. He showed his contemporaries, and he teaches us now, that when those in power act obscenely, patriotic obscenity is a fitting response. Aristophanes’s satirical masterpieces were also surpassingly virtuosic works of poetry. The metrical variety of his plays has always thrilled readers who can access the original Greek, but until now, English translations have failed to capture their lyrical genius. Aaron Poochigian, the first poet-classicist to tackle these plays in a generation, brings back to life four of Aristophanes’s most entertaining, wickedly crude, and frequently beautiful lyric comedies—the pinnacle of his comic art: · Clouds, a play famous for its caricature of antiquity’s greatest philosopher, Socrates; · Lysistrata, in which a woman convinces her female compatriots to withhold sex from their warmongering lovers unless they negotiate peace; · Birds, in which feathered creatures build a great city and become like gods; · and Women of the Assembly, Aristophones’s most revolutionary play, which inverts the norms of gender and power. Poochigian’s new rendering of these comic masterpieces finally gives contemporary readers a sense of the subversive pleasure Aristophones’s original audiences felt when they were first performed on the Athenian stage.

A startling, shape-shifting book of prose and images that draws on an unexpected pair of inspirations—the poetry of Fernando Pessoa and the history of air disasters—to investigate con men, identity politics, failures of leadership, the privilege of ineptitude, the slave trade, and the nature of consciousness. Early in 2017, on a plane from Cape Verde to Lisbon, author and visual artist James Hannaham started reading Pessoa & Co., Richard Zenith's English translation of Fernando Pessoa's selected poetry. This was two months after Trump's presidential election; like many people, ideas about unfitness for service and failures of leadership were on his mind. Imagine his consternation upon discovering the first line of the first poem in the book: "I've never kept sheep/But it's as if I did." The Portuguese, Hannaham had been musing, were responsible for jump-starting colonialism and the slave trade. Pessoa published one book in Portuguese in his lifetime, Mensagem, which consisted of paeans to European explorers. He also invented about seventy-five alter egos, each with a unique name and style, long before aliases and avatars became a feature of modern culture. Hannaham felt compelled to engage with Pessoa's work. Once in Lisbon, he began a practice of reading a poem from Zenith's anthology and responding in whatever mode seemed to click. Even before his trip, however, he had become fascinated by Air Disasters, a TV show that tells the story of different plane crashes in each of its episodes. These stories—as well as the textures and squares of the city he was visiting—began to resonate with his concerns and Pessoa’s, and make their way into the book. Through its inspirations and juxtapositions and its agile shifts of voice and form—from meme to fiction to aphorism to screenshot to lyric—the book leads us to reckon with the most universal questions. What is the self? What holds the self—multiple, fragmented, performative, increasingly algorithmically controlled, constantly under threat of death—intact and aloft?

A breathtaking free fall into the long-buried (and fictional) history of a utopian era in American lighter-than-air travel, as told by its death-defying, aero-acrobatic heroes. "Foster and Romo's 'real fake dream' of the future-past history of the East Los Angeles Dirigible Air Transport Lines is a superb and loving phantasmagoria that gobbles up real histories for breakfast and spits out the seeds."—Jonathan Lethem, author of Motherless Brooklyn In the early years of the twentieth-century, the use of airships known as dirigibles—some as large as one thousand feet long—was being promulgated in Southern California by a semi-clandestine lighter-than-air movement. Groups like the East LA Balloon Club and the Bessie Coleman Aero Club were hard at work to revolutionize travel, with an aim to literally lift oppressed people out of racism and poverty. ELADATL tells the story of this little-known period of American air travel in a series of overlapping narratives told by key figures, accompanied by a number of historic photographs and recently discovered artifacts, with appendices provided to fill in the missing links. The story of the rise and fall of this ill-fated airship movement investigates its long-buried history, replete with heroes, villains, and moments of astonishing derring-do and terrifying disaster. Written and presented as an “actual history of a fictional company,” this surrealist, experimental novel is a tour de force of politicized fantastic fiction, a work of hybrid art-making distilled into a truly original literary form. Developed over a ten-year period of collaborations, community interventions, and staged performances, ELADATL is a furiously hilarious send-up of academic histories, mainstream narratives, and any traditional notions of the time-space continuum. "Poet Foster (Atomik Aztex) and artist Romo deliver a maddeningly accomplished inquiry into the secret history of East Los Angeles. . . . This is as much fun to read as it must have been to make."—Publishers Weekly, Starred Review "One of the wildest, most creative and deeply-cutting novels I’ve read in years, a genuine piece of newness in both content and form. To wade through this surreal narrative archeology is to experience, in the finest sense, literature as fever dream."—Omar El Akkad, author of American War: A Novel "Visionary, hilarious, anarchic, this assemblage of breakneck dialog, blisteringly brilliant film criticism, bureaucratic documents, revolutionary chatter, mass transit, and fake dreams of the secret police, is the counterfactual novel to beat all counterfactual novels."—Mark Doten, author of Trump Sky Alpha "Hilarious and prophetic and profound, truer than truth, and realer than all realities currently available for purchase, ELADATL is strong medicine against the erasures of history, a mega-vitamin for struggles yet to come. This book combats despair."—Ben Ehrenreich, author of Desert Notebooks: A Road Map for the End of Time