The Libro Hunter

09/09/2024

03/09/2024

📢 WE STILL HAVE PLENTY OF BOOKS AVAILABLE! 🌷🍊🌿🍃🌼💐 📢follow this link to reserve: https://www.facebook.com/share/EnKWPDVLPk8jbqk7/?

22/07/2022

these and more for tonight’s collection drop! upload starts at 7 p.m.! follow us on Instagram: www.instagram.com/thelibrohunter

18/07/2022

It’s taken too long for Tracey Emin and Henry Miller to find each other. The artist has provided cover artwork for the Penguin Modern Classics editions of Miller’s novels Tropic of Cancer and Tropic of Capricorn. They are scribbles and Schiele-esque swirls, shadowy dark smudges of bodies in motion. They are perfect.

[…]

He talked about s*x as a way to talk about life, to rail against all the ways we try to keep ourselves comfortable instead of passionate, all the ways we try to protect ourselves from our own desires. These two books, in particular, are about giving up an easier life to live on the streets and become an artist; about going to extremes to find a more authentic version of yourself. That can sometimes just be a justification for being a selfish, arrogant jerk, but there is something still thrilling about the books.

Emin, too, allows her bodies to be real, even at the risk of embarrassment and overexposure. Her work revolves around the messier parts of her life, including her own s*xuality and her reproductive system.

Both artists want to show us what it is like to love, to lust, to fight for your existence and dig into your own life. It’s why Miller’s books keep selling, and it’s why Emin’s art offers an appropriate accompaniment to them. So I’m a little in love with these new covers – even if I do roll my eyes a lot when I read Henry Miller, even if I sigh a little when I see another confessional work by Tracey Emin.

[src. Jessa Crispin, The Guardian]

𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐨𝐧 𝟐𝟏 𝐉𝐮𝐥𝐲, 𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲, 𝟕 𝐩.𝐦.

17/07/2022

𝐖𝐢𝐧𝐧𝐞𝐫 𝐟𝐨𝐫 𝐭𝐡𝐞 𝟐𝟎𝟐𝟏 𝐋𝐚𝐦𝐛𝐝𝐚 𝐋𝐢𝐭𝐞𝐫𝐚𝐫𝐲 𝐀𝐰𝐚𝐫𝐝 𝐟𝐨𝐫 𝐋𝐞𝐬𝐛𝐢𝐚𝐧 𝐅𝐢𝐜𝐭𝐢𝐨𝐧

𝐖𝐢𝐧𝐧𝐞𝐫 𝐨𝐟 𝐭𝐡𝐞 𝟐𝟎𝟐𝟏 𝐅𝐞𝐫𝐫𝐨-𝐆𝐫𝐮𝐦𝐥𝐞𝐲 𝐋𝐢𝐭𝐞𝐫𝐚𝐫𝐲 𝐀𝐰𝐚𝐫𝐝 𝐟𝐨𝐫 𝐋𝐆𝐁𝐓𝐐 𝐅𝐢𝐜𝐭𝐢𝐨𝐧

𝐅𝐢𝐧𝐚𝐥𝐢𝐬𝐭 𝐟𝐨𝐫 𝐭𝐡𝐞 𝟐𝟎𝟐𝟎 𝐊𝐢𝐫𝐤𝐮𝐬 𝐏𝐫𝐢𝐳𝐞 𝐟𝐨𝐫 𝐅𝐢𝐜𝐭𝐢𝐨𝐧

Lit by the hormonal neon glow of Miami, this debut novel follows a Colombian teenager's coming-of-age as she plunges headfirst into lust and evangelism.

Uprooted from her comfortable life in Bogotá, Colombia, into an ant-infested Miami townhouse, fifteen-year-old Francisca is miserable and friendless in her strange new city. Her alienation grows when her mother is swept up into an evangelical church, replete with Christian salsa, abstinent young dancers, and baptisms for the dead.

But there, Francisca also meets the magnetic Carmen: opinionated and charismatic, head of the youth group, and the pastor’s daughter. As her mother’s mental health deteriorates and her grandmother descends into alcoholism, Francisca falls more and more intensely in love with Carmen. To get closer to her, Francisca turns to Jesus to be saved, even as their relationship hurtles toward a shattering conclusion.

“𝑭𝒊𝒆𝒃𝒓𝒆 𝑻𝒓𝒐𝒑𝒊𝒄𝒂𝒍 𝒊𝒔 𝒂 𝒔𝒕𝒐𝒓𝒚 𝒐𝒇 𝒎𝒊𝒈𝒓𝒂𝒕𝒊𝒐𝒏, 𝒒𝒖𝒆𝒆𝒓𝒏𝒆𝒔𝒔, 𝒃𝒓𝒐𝒌𝒆𝒏𝒏𝒆𝒔𝒔, 𝒂𝒏𝒅 𝒍𝒐𝒗𝒆. 𝑱𝒖𝒍𝒊á𝒏 𝑫𝒆𝒍𝒈𝒂𝒅𝒐 𝑳𝒐𝒑𝒆𝒓𝒂 𝒉𝒂𝒔 𝒘𝒓𝒊𝒕𝒕𝒆𝒏 𝒂 𝒏𝒐𝒗𝒆𝒍 𝒂𝒄𝒓𝒐𝒔𝒔 𝒃𝒐𝒓𝒅𝒆𝒓𝒔 𝒕𝒉𝒂𝒕 𝒃𝒖𝒛𝒛𝒆𝒔 𝒘𝒊𝒕𝒉 𝒗𝒆𝒓𝒗𝒆, 𝒇𝒊𝒆𝒓𝒄𝒆𝒏𝒆𝒔𝒔, 𝒂𝒏𝒅 𝒓𝒂𝒘 𝒆𝒎𝒐𝒕𝒊𝒐𝒏. 𝑫𝒆𝒍𝒈𝒂𝒅𝒐 𝑳𝒐𝒑𝒆𝒓𝒂 𝒇𝒐𝒓𝒌𝒔 𝒕𝒉𝒆𝒊𝒓 𝒕𝒐𝒏𝒈𝒖𝒆 𝒇𝒐𝒓 𝒕𝒉𝒊𝒔 𝒃𝒐𝒐𝒌, 𝒘𝒆𝒂𝒗𝒊𝒏𝒈 𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒂𝒏𝒅 𝑺𝒑𝒂𝒏𝒊𝒔𝒉 𝒊𝒏 𝒊𝒏𝒔𝒑𝒊𝒓𝒆𝒅 𝒂𝒏𝒅 𝒊𝒓𝒓𝒆𝒗𝒆𝒓𝒆𝒏𝒕 𝒑𝒓𝒐𝒔𝒆. 𝑻𝒉𝒊𝒔 𝒃𝒐𝒐𝒌 𝒊𝒔 𝒂𝒃𝒔𝒐𝒍𝒖𝒕𝒆 𝒎𝒖𝒔𝒊𝒄 𝒕𝒐 𝒎𝒚 𝒆𝒂𝒓𝒔.” - 𝑰𝒏𝒈𝒓𝒊𝒅 𝑹𝒐𝒋𝒂𝒔 𝑪𝒐𝒏𝒕𝒓𝒆𝒓𝒂𝒔, 𝒂𝒖𝒕𝒉𝒐𝒓 𝒐𝒇 𝑭𝒓𝒖𝒊𝒕 𝒐𝒇 𝒕𝒉𝒆 𝑫𝒓𝒖𝒏𝒌𝒆𝒏 𝑻𝒓𝒆𝒆

available on 21 July, Thursday, 7 p.m.

15/07/2022

here we go again with the q***r tingz 😉 | 𝐧𝐞𝐱𝐭 𝐮𝐩𝐥𝐨𝐚𝐝: 𝟎𝟕.𝟐𝟏.𝟐𝟐, 𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲, 𝟕 𝐩.𝐦.

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15/07/2022

𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐭𝐨 𝐜𝐨𝐢𝐧𝐜𝐢𝐝𝐞 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐦𝐚𝐣𝐨𝐫 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐚𝐭 𝐭𝐡𝐞 𝐑𝐨𝐲𝐚𝐥 𝐀𝐜𝐚𝐝𝐞𝐦𝐲, 𝐋𝐨𝐧𝐝𝐨𝐧, 𝐍𝐨𝐯𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟎 - 𝐅𝐞𝐛𝐫𝐮𝐚𝐫𝐲 𝟐𝟎𝟐𝟏

Tracey Emin (b. 1963) has long said that Edvard Munch (1863–1944) was the artist who had inspired her the most. In her formative years as an artist, it was the expressionism of Munch’s paintings and his uncompromising will to explore the complexity and vulnerability of the human condition that attracted her. This book sheds light on the impact of Munch’s art on Emin’s artistic approach and her expressive repertoire in paintings, sculptures, textiles and neons. It explores the themes of grief, longing and loneliness, especially related to the ageing process and childlessness. This highlights the similarity between the two artists, as well as the difference between a female and male approach to difficult subjects related to the darker side of human existence, which has changed dramatically from the 20th century until today.

𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐨𝐧 𝟐𝟏 𝐉𝐮𝐥𝐲, 𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲, 𝟕 𝐩.𝐦.

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13/07/2022

excerpt from 𝐁𝐫𝐚𝐢𝐝𝐢𝐧𝐠 𝐒𝐰𝐞𝐞𝐭𝐠𝐫𝐚𝐬𝐬: 𝐈𝐧𝐝𝐢𝐠𝐞𝐧𝐨𝐮𝐬 𝐖𝐢𝐬𝐝𝐨𝐦, 𝐒𝐜𝐢𝐞𝐧𝐭𝐢𝐟𝐢𝐜 𝐊𝐧𝐨𝐰𝐥𝐞𝐝𝐠𝐞 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐓𝐞𝐚𝐜𝐡𝐢𝐧𝐠𝐬 𝐨𝐟 𝐏𝐥𝐚𝐧𝐭𝐬 𝐛𝐲 𝐑𝐨𝐛𝐢𝐧 𝐖𝐚𝐥𝐥 𝐊𝐢𝐦𝐦𝐞𝐫𝐞𝐫

Drawing on her life as an indigenous scientist, and as a woman, Kimmerer shows how other living beings ― asters and goldenrod, strawberries and squash, salamanders, algae, and sweetgrass ― offer us gifts and lessons, even if we've forgotten how to hear their voices. In reflections that range from the creation of Turtle Island to the forces that threaten its flourishing today, she circles toward a central argument: that the awakening of ecological consciousness requires the acknowledgment and celebration of our reciprocal relationship with the rest of the living world.

“I expected lessons, but what I found were teachings — knowledge that’s offered, instead of information and dogma ... This book braids these multiple perspectives into a series of essays that’s coherent and compelling ... In these essays, Kimmerer sends out a gentle, affirming call to act on behalf of our world, using our creative gifts: 'books, paintings, poems, the clever machines, the compassionate acts, the transcendent ideas, the perfect tools.' Being grateful is important, Kimmerer says, but not enough. Everyone must act.” - Marion Agnew (Brevity Magazine)

𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐬𝐨𝐨𝐧

12/07/2022

𝐖𝐢𝐧𝐧𝐞𝐫 𝐨𝐟 𝐭𝐡𝐞 𝟐𝟎𝟐𝟏 𝐋𝐚𝐦𝐛𝐝𝐚 𝐋𝐢𝐭𝐞𝐫𝐚𝐫𝐲 𝐀𝐰𝐚𝐫𝐝 𝐟𝐨𝐫 𝐋𝐆𝐁𝐓𝐐 𝐒𝐜𝐢𝐞𝐧𝐜𝐞 𝐅𝐢𝐜𝐭𝐢𝐨𝐧/𝐅𝐚𝐧𝐭𝐚𝐬𝐲/𝐇𝐨𝐫𝐫𝐨𝐫

In this debut collection of body-horror fairy tales and mid-apocalyptic Catholic cyberpunk, memory and myth, loss and age, these are the tools of storyteller Jarboe, a talent in the field of q***r fabulism. Bodily autonomy and transformation, the importance of negative emotions, unhealthy relationships, and bad situations amidst the staggering and urgent question of how build and nurture meaning, love, and safety in a larger world/society that might not be “fixable.” This includes such tales as "The Nothing Spots Where Nobody Wants to Stay" and "The Seed and The Stone" as well as original fiction.

(Lethe Press)

𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐬𝐨𝐨𝐧

12/07/2022

Ken Liu is an American author of speculative fiction. He has won the Nebula, Hugo, and World Fantasy awards, as well as top genre honors in Japan, Spain, and France, among other places.

He has been involved in multiple media adaptations of his work. The most recent projects include “The Message,” under development by 21 Laps and FilmNation Entertainment; “Good Hunting,” adapted as an episode of Netflix’s breakout adult animated series Love, Death + Robots; and AMC’s Pantheon, which Craig Silverstein will executive produce, adapted from an interconnected series of short stories by Ken.

Prior to becoming a full-time writer, Ken worked as a software engineer, corporate lawyer, and litigation consultant. Ken frequently speaks at conferences and universities on a variety of topics, including futurism, cryptocurrency, history of technology, bookmaking, the mathematics of origami, and other subjects of his expertise.

𝐓𝐰𝐨 𝐨𝐟 𝐡𝐢𝐬 𝐬𝐡𝐨𝐫𝐭 𝐬𝐭𝐨𝐫𝐲 𝐜𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧𝐬 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐢𝐧 𝐨𝐮𝐫 𝐬𝐡𝐨𝐩 𝐬𝐨𝐨𝐧!

11/07/2022

“History is a narrative enterprise, and the telling of stories that are true, that affirm and explain our existence, is the fundamental task of the historian. But truth is delicate, and it has many enemies. Perhaps that is why, although we academics are supposedly in the business of pursuing the truth, the word “truth” is rarely uttered without hedges, adornments, and qualifications.

Every time we tell a story about a great atrocity, like the Holocaust or Pingfang, the forces of denial are always ready to pounce, to erase, to silence, to forget. History has always been difficult because of the delicacy of the truth, and denialists have always been able to resort to labeling the truth as fiction.

One has to be careful, whenever one tells a story about a great injustice. We are a species that loves narrative, but we have also been taught not to trust an individual speaker.

Yes, it is true that no nation, and no historian, can tell a story that completely encompasses every aspect of the truth. But it is not true that just because all narratives are constructed, that they are equally far from the truth. The Earth is neither a perfect sphere nor a flat disk, but the model of the sphere is much closer to the truth. Similarly, there are some narratives that are closer to the truth than others, and we must always try to tell a story that comes as close to the truth as is humanly possible.

The fact that we can never have complete, perfect knowledge does not absolve us of the moral duty to judge and to take a stand against evil.”

𝒆𝒙𝒄𝒆𝒓𝒑𝒕 𝒇𝒓𝒐𝒎 “𝑻𝒉𝒆 𝑴𝒂𝒏 𝑾𝒉𝒐 𝑬𝒏𝒅𝒆𝒅 𝑯𝒊𝒔𝒕𝒐𝒓𝒚: 𝑨 𝑫𝒐𝒄𝒖𝒎𝒆𝒏𝒕𝒂𝒓𝒚” 𝒃𝒚 𝑲𝒆𝒏 𝑳𝒊𝒖 — 𝒊𝒏𝒄𝒍𝒖𝒅𝒆𝒅 𝒊𝒏 𝒉𝒊𝒔 𝒔𝒉𝒐𝒓𝒕 𝒔𝒕𝒐𝒓𝒚 𝒄𝒐𝒍𝒍𝒆𝒄𝒕𝒊𝒐𝒏 𝑷𝒂𝒑𝒆𝒓 𝑴𝒆𝒏𝒂𝒈𝒆𝒓𝒊𝒆 𝒂𝒏𝒅 𝑶𝒕𝒉𝒆𝒓 𝑺𝒕𝒐𝒓𝒊𝒆𝒔

𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 @ 𝐓𝐡𝐞 𝐋𝐢𝐛𝐫𝐨 𝐇𝐮𝐧𝐭𝐞𝐫 𝐬𝐨𝐨𝐧

03/07/2022

NOW AVAILABLE

𝐀 𝐛𝐞𝐡𝐢𝐧𝐝-𝐭𝐡𝐞-𝐬𝐜𝐞𝐧𝐞𝐬 𝐥𝐨𝐨𝐤 𝐚𝐭 𝐭𝐡𝐞 𝐞𝐱𝐭𝐫𝐚𝐨𝐫𝐝𝐢𝐧𝐚𝐫𝐲 𝐚𝐧𝐝 𝐦𝐞𝐭𝐢𝐜𝐮𝐥𝐨𝐮𝐬 𝐝𝐞𝐬𝐢𝐠𝐧 𝐨𝐟 𝐠𝐫𝐚𝐩𝐡𝐢𝐜 𝐨𝐛𝐣𝐞𝐜𝐭𝐬 𝐟𝐨𝐫 𝐟𝐢𝐥𝐦 𝐬𝐞𝐭𝐬.

Although graphic props such as invitations, letters, tickets, and packaging are rarely seen close-up by a cinema audience, they are designed in painstaking detail. Dublin-based designer Annie Atkins invites readers into the creative process behind her intricately designed, rigorously researched, and visually stunning graphic props. These objects may be given just a fleeting moment of screen time, but their authenticity is vital and their role is crucial: to nudge both the actors on set and the audience just that much further into the fictional world of the film.

𝟐𝟖𝟖𝟎 𝐩𝐡𝐩, BRAND NEW, sealed

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