ibidem-Sachbuch is the non-fiction section of ibidem Press. Here you will find a broad spectrum of non-fiction literature with interesting topics for the general public - from biographies and contemporary witness reports to political analyses.
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Was ist Pop? So wenig originell diese Frage ist, so originell, vielfältig und überraschend können die Antworten ausfallen, wenn man sie den Richtigen stellt: Schriftstellern wie Thomas Meinecke, Andreas Neumeister oder Thorsten Krämer; Musikern und DJs wie Dirk von Lowtzow (»Tocotronic«) oder Hans Nieswandt; Journalisten wie Diedrich Diederichsen, Ulf Poschardt, Pinky Rose, Sacha Kösch oder Moritz von Uslar; Wissenschaftlern wie Gabriele Klein oder Eckhard Schumacher. Alle Autorinnen und Autoren gehen in den vorliegenden Originalbeiträgen anhand der Beschreibung eines Gegenstands, einer Person, einer Moderichtung, eines (Schreib-)Stils der Frage nach, was Popkultur eigentlich ist. Diese Phänomenologie der derzeitigen Popkultur bildet insofern auf ebenso unterhaltsame wie erhellende Weise ab, wie in der Gegenwart Kultur wahrgenommen wird und als symbolische Ordnung funktioniert; und nicht zuletzt wird der Begriff selber einer Revision unterzogen, indem er – ganz nebenbei – in unendlich viele Teilchen zersprengt wird.
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Aus dem Englischen von Horst Kappen
Paul Auster meets Stephen King in this poetic yet disturbing investigation into the darkest corners of human nature. After the coral, ambitious Le case del malcontento, Sasha Naspini comes back with a tightly plotted narrative that keeps you at the edge of your seat from page one to the very end, while drawing with sharp sensibility broken characters who fight against all odds to put their pieces back together in unexpected new shapes. Laura disappears on the 12th of August 1999, at eight years old. She is found 14 years later in a bunker. She’s 22 now. Luca is having dinner with his father, just another evening, always the same for the last thirty years. Someone knocks at the door: it’s the police. What happens if one day you find out the person who raised you is a monster? Ossigeno is the story of those who stay after everything and everyone else have gone. The arrest of the monster is the beginning of a new life, one that seemed impossible to imagine – there are no cages anymore, but the characters are nevertheless stuck in their own minds, made of memories and scars they can’t forget. Luca’s father was his bridge to reality, he was his moral compass, someone to look up to. After the death of his mother, he had become his whole family. And throughout this whole time, he was monster. Where does this leave Luca? Is he a monster too, for sharing is father’s blood? Meanwhile, Laura is trying hard to live again. Her mother doesn’t know how to talk to her. Laura smiles, she acts normal. She likes to wander around the city – she likes to get lost in the crowd. But sometimes she feels the need to be surrounded by walls. She locks herself in a random bathroom. She could stay there for hours, until someone knocks. No one knows what she’s doing in there. Ossigeno is a matrioska. Characters close themselves in dark boxes – and a boy in Wyoming hides in a locket, not knowing he has always been captive inside someone else’s nightmare. Ossigeno is not a psychological thriller – it is not a crime novel. It is a story of dark roots and curious, eerie minds. Of secrets buried so deep that become seeds for madness. Of masks worn so tightly they become your own skin. But what’s underneath, no matter how hard you try, is still there. Hidden. Observing. Waiting to see what happens. Sasha Naspini’s previous novel, Le Case del malcontento, was sold in China, Korea, Greece and Turkey and is being considered by many publishers worldwide. Its passionate, extremely sophisticated story-telling and unforgettable characterization makes it a psychological masterpiece, an analysis on the complexity of human nature – I would say it’s the Italian Spoon River Anthology, and the title has also been compared to Lincoln in the Bardo by George Saunders. With a vernacular yet classical, literary language, and multiple points of view, Le Case is an epic rural tale with a universal echo. The novel plays with genres, mixing noir, psychological thriller, historical memoir and dark fairy-tale.
Cillerai’s widow can’t seem to be able to shed a tear for her husband’s death. She hasn’t cried when she found his body, she hasn’t cried at his funeral. When her daughter goes back home in France, Nives is left alone in her estate, with her animals and her little home. Nights are the toughest. She can’t sleep – her body feels numb and completely awake; one day she decides to take her favourite chicken, Giacomina, from the henhouse and keep her with her in the bedroom. Her anxiety immediately evaporates. She feels relieved and guilty: how could she replace her dead husband with a chicken? She sleeps safe and sound now, silence and loneliness don’t scare her anymore. She even starts feeling inexplicably happy… Then one day, Giacomina ends up paralyzed in front of the tv, hypnotized by a detergent ad. Nives tries everything to wake her, but the chicken seems to be completely frozen. The only choice she is left with is to call the vet, Loriano Bottai. Follows a phone call that seems to last a lifetime. Soon the conversation slips from the chicken to the past – the tension on the line changes, it becomes something else. Something that echoes regrets, rage and unforgivable memories – lost loves and bitterness. Beyond Our Souls at Night, Nives is the stories we tell ourselves at night, when we can’t sleep. Stories of unspoken passions, of abandonment, of silent, heart-breaking nostalgia. We go back and forth in time with Nives, and we feel her anger, her loneliness, her desperate generosity in giving all of herself to Loriano and to the reader. With rage and infinite dignity, she breaks down and slowly takes the pieces of her life, of a life she told herself was hers, back together in one phone call – oftentimes it seems she is not even listening to the other side, but more speaking to her past self. She wants to fill the void that has haunted her for thirty years. What to do of that past, of all the roads we wanted to take we never had the guts to follow? What to do with all the years spent living lies? But ultimately – is life ever a lie, or is it just what it is? Are the sliding doors just stories we tell ourselves when we are not able to accept who we truly are? With this new, ground-breaking novel, Naspini explores the core of who we are with such delicateness, such humanity, that it is impossible not to recognize yourself in the flawed, sad, messy, beautiful lives these characters have built for themselves. Nives’ story, her inner world, her courage in finally embracing the truth of her life, makes her story universal and necessary – she is honest, raw, clean, incorruptible. A fierce new heroine of Italian contemporary literature, one that is finally not afraid to look at herself in the mirror.
Vaelle has lost everything. His brother first, slaughtered before his eyes. Her future then, since she is now being hunted down by the powerful Bureau for illegal use of her Voice. There is only one thing left: revenge. She promises herself: she will kill Yervain, the Bureau member responsible for her brother's murder. Whatever the price. No matter the consequences. His obsession with Yervain leads him further and further, into ever bloodier sacrifices, and ever darker darkness. Until the point of no return.
The new reference of wellness cooking. All foodies, allergic or not, will be able to meet around the same table.
A major critical work from one of the preeminent voices of science fiction scholarship
In the Alps, there is a lonesome valley where the old and scatterbrained Adelmo Farandola wanders, crazy with solitude. Adelmo’s only companion is a nagging dog; together they form an unusual comic pairing, since Adelmo is able to understand its talking as well as those of other animals of the mountains. He also understands the voices of the wind, the sky, and even of the dead.Struggling in the wild and hostile nature around him, we follow him in the changing of seasons and in the repetitiveness of his actions: but then one day, as spring arrives, Adelmo and his dog notice a foot in the melting snow. Snow, dog, foot is a strange little book that one can read cover to cover, enchanted by its characters and their sarcastic profundity.
Floriculture is a fast emerging and rapidly expanding industry through strong research and development. It covers all aspects related to commercial growing, marketing, arrangement of seeds and bulbs, plants, flowers etc. On the other hand gardening is all about the planning and planting of an area to secure a relationship between the landscape and plants to meet the human needs for beauty and function in the best way. The present title has been planned and designed to meet the long - felt need for a book covering major aspects of important floriculture crops. This book would serve as a reliable source of information about all the important and relevant aspects of floriculture and ornamental horticulture for various uses including production technology of export quality flowers to the persons who are associated with or working in floriculture with the latest information for further advancement. In this book important aspects of floriculture are explained in a concise and easy to understand format using simple and lucid language. Encompassing 32 chapters the book is a detailed summary of facts, figures yet in a comprehensive way.
Fleeing was the most beautiful thing we had is a book that deals with exile as a I, an extraordinary text on the “dépaysement" (change of scenery) that is inherited from one generation to the next. It’s written by Marta Marín-Dòmine, who was born in Barcelona and now traches Literature and Memory Studies at the Wilfrid Laurier University of Waterloo (Canada). The book was originally published in Catalan by Club Editor and it reached best sellers lists for some weeks. It was awarded an special mention at the 2019 Catalan Booksellers Award and was awarded the 2019 Barcelona Award. The Spanish translation will be published by Galaxia Gutenberg this October 2020. In Fleeing was the most beautiful thing we had, the author pays tribute to her father, a boy of the war, one of many who lived the Spanish Civil War when they were teenagers and who, in 1939, went to exile and sought refuge in France, where they were interned in refugee camps. A boy who lived bombings, exile, the return and humiliation of returning to a pro-Franco Barcelona, a city that he does not recognize as his own and makes him feel like an exile in his own country. The narrator regularly packs her suitcases and goes to a new country where maybe she will end up feeling like home. But no: an instinct pushes her to refuse sedentary life. She seems to flee away. But from what? Based on texts from his father's unpublished memoir, Marin-Dòmine reflects on the impact of war, exile and repression in thousands and thousands of lives, and she does so with such stinging words that the reader’s heart shakes. We can imagine it, almost feel it. In addition, the author uses the description of photographic images of the time, some of them iconic, which impose themselves with all harsh: Children, teenagers and images of the refugee camp of Argelers (in France). But the book does not only tell of the memory of the Spanish Civil War, it talks about all the wars, about all the refugees, about all the exiles ... and it tells all this through the eyes of the exiles’ offspring, who somehow have collected the inheritance of those parents who had to leave. Fleeing was the most beautiful thing we had is a tribute to all the exiles, and a trip from Barcelona to Toronto, looking for traces of nomadic lives. Marta-Marín-Dòmine follows them with the sensitivity of a hunter and focuses on a bewildering truth: that the remembrances of others - what we call memory - are the country where we live. In dark times like today's, this is a reading to reflect on the importance of the values and the ravages of hatred, repression and lies.
