THE PENAL COLONY - SECOND HAND

1957, south-east suburbs of London.
Jean Swinney is a feature writer on a local paper, disappointed in love and — on the brink of forty — living a limited existence with her truculent mother: a small life from which there is no likelihood of escape.

When a young Swiss woman, Gretchen Tilbury, contacts the paper to claim that her daughter is the result of a virgin birth, it is down to Jean to discover whether she is a miracle or a fraud. But the more Jean investigates, the more her life becomes strangely (and not unpleasantly) intertwined with that of the Tilburys: Gretchen is now a friend, and her quirky and charming daughter Margaret a sort of surrogate child. And Jean doesn't mean to fall in love with Gretchen's husband, Howard, but Howard surprises her with his dry wit, his intelligence and his kindness — and when she does fall, she falls hard.

But he is married, and to her friend — who is also the subject of the story she is researching for the newspaper, a story that increasingly seems to be causing dark ripples across all their lives. And yet Jean cannot bring herself to discard the chance of finally having a taste of happiness...

But there will be a price to pay, and it will be unbearable.

"Terrific stories...Just about perfect" ( Entertainment Weekly ): Brownsville is the collection that established Oscar Casares as one of the leading voices in the literature of the modern Southwest.



At the country's edge, on the Mexican border, Brownsville, Texas, is a town like many others. It is a place where people work hard to create better lives for their children, where people bear grudges against their neighbors, where love blossoms only to fade, and where the only real certainty is that life holds surprises.



In his sparkling debut, Oscar Casares creates a cast of unforgettable characters confronting everyday possibilities and Diego, an eleven-year-old whose job at a fireworks stand teaches him a lesson in defiance; Bony, a young man whose discovery of a monkey's head on his lawn drives a wedge between him and his parents; Lola, whose stolen bowling ball offers an unlikely chance for change. The achievement of Brownsville lies in its remarkably honest portrayal of these lives -- the lives of people whose dreams and yearnings and regrets are at once unique and universal.




"Marvelous... Brownsville resembles early Steinbeck work more than anything else." --Carolyn See, Washington Post

Anita lives in Karachi's biggest slum. Her mother is a maalish wali, paid to massage the tired bones of rich women. But Anita's life will change forever when she meets her elderly neighbour, a man whose shelves of books promise an escape to a different world.

On the other side of Karachi lives Monty, whose father owns half the city and expects great things of him. But when a beautiful and rebellious girl joins his school, Monty will find his life going in a very different direction.

Sunny's father left India and went to England to give his son the opportunities he never had. Yet Sunny doesn't fit in anywhere. It's only when his charismatic cousin comes back into his life that he realises his life could hold more possibilities than he ever imagined.

These three lives will cross in the desert, a place where life and death walk hand in hand, and where their closely guarded secrets will force them to make a terrible choice.

Heart of Darkness

Few literary works have achieved the sustained, unflinching pessimism of Heart of Darkness, Joseph Conrad's haunting tale of one man's journey into the African subcontinent. One new novel that can justly make that claim is The Catastrophist, by the talented Irish writer/activist Ronan Bennett. Here, Conrad's classic tale is transmogrified by a century of irony, Westernization, and a tip of the hat to Graham Greene and John le Carré. Benett's Marlow is James Gillespie, an Irish historian turned novelist who travels to the Congo in 1959. Set against the death throes of the age of imperialism, the new nation's violent struggle for independence from Belgium provides ample opportunity for Gillespie to explore the dark territory of political and emotional engagement.

Gillespie's Kurtz, the figure who draws him to the Congo and whose maddening attachment to the place both fascinates and repulses him, is Inès, a fiery Italian journalist, who pens fiercely pro-Congolese articles for a radical newspaper. Inès and Gillespie met in London at the house of Gillespie's publisher, and soon after, were heading to Ireland for a romantic getaway. Inès was smitten instantly ("I am already loving you" she whispers as they first make love), but Gillespie, considerably less headstrong, was slower to recognize his feelings. Following Inès to Léopoldville (Kinshasa), the Congolese capital, was his emotional plunge, his gesture toward commitment. But soon after his arrival, Gillespie realizes that he has been displaced from Inès's attentions by her devotion to Patrice Lumumba, the charismatic Congolese independence leader. Gillespie, on the other hand, is incapable of viewing the disorganized independence movement as anything more than an unfortunate farce; nor does he sympathize with the Belgians in Léopoldville, who live in cloistered luxury, walled off from the cité indigène -- "where the blacks live" -- by well-patrolled walls and their own willful obliviousness.