يقول الكاتب بلال فضل عن هذا الكتاب الممتع: وليد طاهر واحد من أبرز رسامي الكاريكاتير في مصر.. يبدع ويتألق دون أن يستعير أصابع أحد.. فهاهو يهندس لنا في هذا الكتاب البديع فنا معماريا خاصا ومسجَّلا باسمه يمزج فيه بين الفن التشكيلي والشعر والمعمار.. الفن ستراه والشعر ستقرأه .. أما المعمار فستلمس تأثيره على تعمير دماغك بعد أن تنتهي من القراءة وتعاودها مجددا

Belaydık. Bitirimdik. Tuttuğumuzu koparırdık. Bazen ödlek kedilerin peşine düşerdik. Nefes nefese kaçacak bir delik ararlardı. Bazen de sokak sokak gezer, “Ne geçiyon la burdan,” diye korkuturduk yabancıları. Betleri benizleri atardı. Onların deyişiyle, itin götüne girmiş gibi olurlardı. Sonuçta insanlarla aramızdaki mesafe açılır ve kimse bir şey vermezdi bize. Onun adı Mikasa. Melsa’nın âşığı, uzun ince gövdesi, siyah benekleri var, güzel de bir burnu. Makam Dağı’nın, Papaz Gölü’nün adını biliyor. Güneylilerle Kuzeyliler savaşıyorlar, onu da duyuyor. Zamanı söyleyen hikâyeler, kaderi temize çeken melekler, ölmüşlere dualar ve sokakların tarihi... Hiçbiri, Heves Amca’nın Muhterem Nur’u sevdiği gibi Melsa’yı seven Mikasa’yı anlatmıyor. Dağlar gibi hatıralar... Alevli Kalpler Çetesi, Kıtmir Hazretleri, Çavuş Kabba, Burhan Çaçan’ın türküsü, Jandarma Köpek Eğitim Merkezi... Latif Dede, Köpek Cengiz, güzel bir biftek...Teneke çatılar, safralar, tevatürler, mayınlı yollar... Uluyan köpekler ve Adıgüzel, kalplere iyi gelen... Kemal Varol, zamanı aşan bir roman, hüzünlü bir edebiyat bileti sunuyor bize... Haw, sadece yeni değil sıcak ve güzel...

Originally published in 2011, The Mosquito Bite Author is the seventh novel by the acclaimed Turkish author Barı Bıçakçı. It follows the daily life of an aspiring novelist, Cemil, in the months after he submits his manuscript to a publisher in Istanbul. Living in an unremarkable apartment complex in the outskirts of Ankara, Cemil spends his days going on walks, cooking for his wife, repairing leaks in his neighbor’s bathroom, and having elaborate imaginary conversations in his head with his potential editor about the meaning of life and art. Uncertain of whether his manuscript will be accepted, Cemil wavers between thoughtful meditations on the origin of the universe and the trajectory of political literature in Turkey, panic over his own worth as a writer, and incredulity toward the objects that make up his quiet world in the Ankara suburbs.

My Heart Became a Bomb is the first collection of poetry by Syrian-Palestinian poet Ramy al-Asheq to be translated into English. Poignant and raw, these poems take the reader along a path of forced emigration from Bashar al-Assad’s prisons in Syria to Amsterdam to Auschwitz to Berlin, Germany, where Al-Asheq is now creating a new home. By turns melancholy and reflective, celebratory and hopeful, Al-Asheq’s newly translated poems offer the English-reading audience a contemporary perspective on the experience of exile in a world facing the phenomeno of mass migration, whether for political or environmental reasons. The translations are the result of a long collaboration between Al-Asheq and Thompson (who also edited this collection). Raising questions about the nature of love, identity, and the role of poetry in the face of constant flux and great uncertainty, My Heart Became a Bomb introduces an important new voice to the world of contemporary poetry.

I Saw Her in My Dreams is a powerful novel about interpersonal and systemic violence, examined through the lens of a relationship between Zahiyya, an anxious middle-class Omani artist, and Faneesh, the Ethiopian domestic worker she hires. When Zahiyya’s husband Amer, a novelist, leaves for Zanzibar in search of his biological mother, Zahiyya is left to confront her anxieties and prejudices. Both Zahiyya and Faneesh begin to suffer a recurring nightmare, prompting Zahiyya to read Fanheesh’s diaries in search of answers. Alone and afraid, Zahiyya reads excerpts from Amer’s novel, written from his father’s diaries about living in Zanzibar, where he fell in love with Amer’s mother, a Zanzibari woman whose absence still haunts him. Weaving between multiple perspectives and stories within stories, the novel explores honestly—but without sensationalizing or self-Orientalizing—the anti-Blackness that has endured in the Arab world and elsewhere.