Catalog of an exhibition held the Musee d'art moderne de Saint-Etienne Metropole, Saint-Etienne Metropole, France, June 23-Sept. 30, 2012.

Fundamenta KrestomatioBy L. L. Zamenhof

"I glanced up but he'd already jumped, a dark blur plummeting, wings folded against the drag like some starving hawk out of the noon sun, some angel betrayed. He punched through the cab's roof so hard he sent metal shearing into the petrol tank. All it took was one spark. Boom . . ."Harry Rigby is right there, an eye-witness when Finn Hamilton walks out into the big nothing nine stories up, but no one wants to believe Finn is just the latest statistic in Ireland's silent epidemic. Not Finn's mother, Saoirse Hamilton, whose property empire is crumbling around her; and not Finn's pregnant fiancé, Maria, or his sister Grainne; and especially not Detective Tohill, the cop who believes Rigby is a stone-cold killer, a slaughter's hound with a taste for blood . . . Welcome to Harry Rigby's Sligo, where death comes dropping slow. Studded with shards of black humour and mordant wit, Slaughter's Hound is a gripping noir from one of the most innovative voices in Irish crime fiction.

Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field. The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and M tis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucat n, Amerika Samoa, and Francophone Quebec. Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field.

MUSEUM OF UNHEARD (OF) THINGS is the catalogue raisonne of the world-famous "literary cabinet of curiosities" in Berlin, which holds the record of being the most visited museum in the German capital (if one offsets the number of visitors to the square meters of the exhibition space). The museum collects unique objects to which curator Roland Albrecht has patiently lent his ear in order to hear the unheard (of) story each of them has to tell. This book is the first publication to assemble all the 78 stories in the current collection, all categorized according to weight, translated into English for the first time. Included are unheard (of) tales about a clock of a Swiss inventor who promoted "New-Time"-where the day was only twenty hours long, an hour fifty minutes, and a minute fifty seconds-and was subsequently arrested by the authorities, the first portrait ID card in history created for Michel de Montaigne, a fork which reveals the secret history of a meeting of chefs in the Alps, the stone that inspired Thomas Mann to write many of his stories, or the scandalous relationship between the Brothers Grimm and alphabet soup. The book ends with a story about the museum itself which may make some readers ponder about the veracity of its existence. These extraordinary tales of seemingly ordinary objects invite the reader to imagine the world differently by listening more carefully and intimately to all the things that surround our everyday lives. "The present is always a story presented by the winners of history. With a gaze kindred to Walter Benjamin's, Albrecht collects things which appear utterly trivial in the given here and now. With patience kindred to Sigmund Freud's, he listens to them until they start revealing their stories. With a playful spirit kindred to Jorge Luis Borges, he writes them down. The result is a gentle but persistent wake-up call in the form of short stories, which cracks the tyranny of present and offers a glimpse into the unheard (of) world of things devoid of victors and losers, but full of tales that await to be told." - CODY EIKMAN "Berlin exists for Museum der Unerhorten Dinge, or maybe the whole world exists for this small museum. Finally its secrets have been translated into English from German." - TOMOMI ADACHI"