The Lady Matador S Hotel

A novel about the intertwining lives of the denizens of a hotel in an unnamed Latin American country in the midst of political turmoil.

A “darkly hilarious” (Elle) novel about a fictionalized Fidel Castro and an octogenarian Cuban exile obsessed with seeking revenge by the National Book Award finalist Cristina García, this “clever, well-conceived dual portrait shows what connects and divides Cubans inside and outside of the island” (Kirkus Reviews). Vivid and teeming with life, King of Cuba transports readers to Cuba and Miami, and into the heads of two larger-than-life men: a fictionalized Fidel Castro and an octogenarian Cuban exile obsessed with seeking revenge against the dictator. García’s masterful twinning of these characters combines with a rabble of other Cuban voices to portray the passions and realities of two Cubas—on the island and off— in a pulsating story that entertains and illuminates.

“Impressive . . . [Cristina García’s] story is about three generations of Cuban women and their separate responses to the revolution. Her special feat is to tell it in a style as warm and gentle as the ‘sustaining aromas of vanilla and almond,’ as rhythmic as the music of Beny Moré.”—Time Cristina García’s acclaimed book is the haunting, bittersweet story of a family experiencing a country’s revolution and the revelations that follow. The lives of Celia del Pino and her husband, daughters, and grandchildren mirror the magical realism of Cuba itself, a landscape of beauty and poverty, idealism and corruption. Dreaming in Cuban is “a work that possesses both the intimacy of a Chekov story and the hallucinatory magic of a novel by Gabriel García Márquez” (The New York Times). In celebration of the twenty-fifth anniversary of the novel’s original publication, this edition features a new introduction by the author. Praise for Dreaming in Cuban “Remarkable . . . an intricate weaving of dramatic events with the supernatural and the cosmic . . . evocative and lush.”—San Francisco Chronicle “Captures the pain, the distance, the frustrations and the dreams of these family dramas with a vivid, poetic prose.”—The Washington Post “Brilliant . . . With tremendous skill, passion and humor, García just may have written the definitive story of Cuban exiles and some of those they left behind.”—The Denver Post

An invitation too irresistible to refuse from the Museum of Cadiz leads archaeologist Annja Creed to the sun-drenched southern coast of Andalucia, Spain. In a region rich in Moorish and Roman ruins, she leaps at the chance to join a dig across the Bay of Cadiz, where she unearths a bronze bull statue that makes the entire trip worth every minute. Until the day after her discovery, when she sees the same artifact beside the body of a dead Spaniard, killed by the estocada, the final sword thrust used by bullfighters to bring down the bull. Whoever killed the man left clear signs of having taken something. And yet the bronze bull remained. What was so valuable the murderer chose it over a priceless artifact? How had her find come into this dead man's hands? With few leads and a growing body count, Annja's investigation takes her through a colorful world of flamenco and bullfighting to a renowned matador and an illegal—and deadly—collection of Visigoth votive crowns.

Part sports writing, part travelogue, this is a portrait of Spain, its people, and their passion for a beautiful yet deadly spectacle. A brilliant observer in the tradition of Adam Gopnik and Paul Theroux, Edward Lewine reveals a Spain few outsiders have seen. There's nothing more Spanish than bullfighting, and nothing less like its stereotype. For matadors and aficionados, it is not a blood sport but an art, an ancient subculture steeped in ritual, machismo, and the feverish attentions of fans and the press. Lewine explains Spain and the art of the bulls by spending a bullfighting season traveling Spanish highways with the celebrated matador Francisco Rivera Ordónez, following Fran, as he’s known, through every region and social stratum. Fran’s great-grandfather was a famous bullfighter and the inspiration for Hemingway’s matador in The Sun Also Rises. Fran’s father was also a star matador, until a bull took his life shortly before Fran’s eleventh birthday. Fran is blessed and haunted by his family history. Formerly a top performer himself, Fran’s reputation has slipped, and as the season opens he feels intense pressure to live up to his legacy amid tabloid scrutiny in the wake of his separation from his wife, a duchess. But Fran perseveres through an eventful season of early triumph, serious injury, and an unlikely return to glory. A New York Times Editor’s Choice Praise for Death and the Sun “May be the most in-depth, incisively written guide to bullfighting available in English. Every drunken sophomore riding the rails to Pamplona this summer ought to keep a volume in his backpack.” —New York Times Book Review “Lewine demonstrates knowledge of and respect for the matador’s dangerous profession. E also explores the history of Spaine and the charms and contradictions evident within the country’s exceptionally varied cultures and people.” —Boston Globe

LatinAsian Cartographies examines how Latina/o and Asian American writers provide important counter-narratives to the stories of racial encroachment that have come to characterize twenty-first century dominant discourses on race. Susan Thananopavarn contends that the Asian American and Latina/o presence in the United States, although often considered marginal in discourses of American history and nationhood, is in fact crucial to understanding how national identity has been constructed historically and continues to be constructed in the present day. Thananopavarn creates a new “LatinAsian” view of the United States that emphasizes previously suppressed aspects of national history, including imperialism, domestic racism during World War II, Cold War operations in Latin America and Asia, and the politics of borders in an age of globalization. LatinAsian Cartographies ultimately reimagines national narratives in a way that transforms dominant ideas of what it means to be American.

The bestselling author of The Orchid Thief and The Library Book is back with this delightfully entertaining collection of her best and brightest profiles. Acclaimed New Yorker writer Susan Orlean brings her wry sensibility, exuberant voice, and peculiar curiosities to a fascinating range of subjects—from the well known (Bill Blass) to the unknown (a typical ten-year-old boy) to the formerly known (the 1960s girl group the Shaggs). Passionate people. Famous people. Short people. And one championship show dog named Biff, who from a certain angle looks a lot like Bill Clinton. Orlean transports us into the lives of eccentric and extraordinary characters—like Cristina Sánchez, the eponymous bullfighter, the first female matador of Spain—and writes with such insight and candor that readers will feel as if they’ve met each and every one of them. The result is a luminous and joyful tour of the human condition as seen through the eyes of the writer heralded by the Chicago Tribune as a “journalist dynamo.”

In the 1970s, a teenaged Iranian princess, a German-Canadian girl, and a Cuban-Jewish girl from New York City become friends when they spend three summers at a Swiss boarding school.