Just a few years into the future, the planet is thrown into turmoil when people start disappearing in their sleep. As more and more people are inexplicably 'removed', infrastructures grind to a halt and eventually the once-unextraordinary Aeronwy finds herself completely alone. After trekking over a hundred miles to her family farm in west Wales, however, she comes to realise that her biggest challenge in this brave new world will not be finding food and fuel, but dealing with another survivor...Gripping female-focused dystopian thriller. Ordinary wife and mother Aeronwy focuses on surviving in a post-apocalyptic world from which everyone else seems to have disappeared. That is, until she realises that her biggest challenge will not be finding food and fuel, but dealing with another survivor...

The Mabinogion (Welsh pronunciation: mabɪˈnɔɡjɔn) is a collection of 11 prose stories collated from medieval Welsh manuscripts. The tales draw on pre-Christian Celtic mythology, international folktale motifs and early medieval historical traditions. While some details may hark back to older Iron Age traditions, each of the tales is the product of a developed medieval Welsh narrative tradition, both oral and written. Lady Charlotte Guest in the mid 19th century was the first to publish English translations of the collection, popularising the name "Mabinogion". The stories appear in either or both of two medieval Welsh manuscripts, the White Book of Rhydderch or Llyfr Gwyn Rhydderch, written c.1350, and the Red Book of Hergest or Llyfr Coch Hergest, written c.1382 – 1410, tho texts or fragments of some of the tales have been preserved in earlier 13th century and later mss. Scholars agree that the tales are older than the existing mss, but disagree over just how much older. The different texts originated at different times. Debate has focused on the dating of the Four Branches of the Mabinogi. Sir Ifor Williams offered a date prior to 1100, based on linguistic and historical arguments, while later Saunders Lewis set forth a number of arguments for a date between 1170 and 1190; Th Charles-Edwards, in a paper published in 1970, discussed both viewpoints, and while critical of the arguments of both scholars, noted that the language of the stories fits the 11th century. More recently, Patrick Sims-Williams argued for a plausible range of about 1060 to 1200, the current scholarly consensus.

Effy Sayre has always believed in fairy tales. Haunted by visions of the Fairy King since childhood, she’s had no choice. Her tattered copy of Angharad—Emrys Myrddin’s epic about a mortal girl who falls in love with the Fairy King, then destroys him—is the only thing keeping her afloat. So when Myrddin’s family announces a contest to redesign the late author’s estate, Effy feels certain it’s her destiny. But musty, decrepit Hiraeth Manor is an impossible task, and its residents are far from welcoming. Including Preston Héloury, a stodgy young literature scholar determined to expose Myrddin as a fraud. As the two rivals piece together clues about Myrddin’s legacy, dark forces, both mortal and magical, conspire against them—and the truth may bring them both to ruin.

When her father leaves the Church in a crisis of conscience, Margaret Hale is uprooted from her comfortable home in Hampshire to move with her family to the north of England. Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction. In North and South, Elizabeth Gaskell skillfully fuses individual feeling with social concern, and in Margaret Hale creates one of the most original heroines of Victorian literature.

From the acclaimed author of Rewild Yourself comes a brilliant new book that reveals the natural joys to be discovered on your doorstep. In the autumn of 2020, Simon Barnes should have been leading a safari in Zambia, but Covid restrictions meant his plans had to be put on hold. Instead, he embarked on the only voyage of discovery that was still open to him. He walked to a folding chair at the bottom of his garden, and sat down. His to sit in that very same spot every day for a year and to see - and hear - what happened all around him. It would be a stationary garden safari; his year of sitting dangerously had begun. For the next twelve months, he would watch as the world around him changed day by day. Gradually, he began to see his surroundings in a new way; by restricting himself, he opened up new horizons, growing even closer to a world he thought he already knew so well.The Year of Sitting Dangerously is a wonderfully evocative read; it inspires the reader to pay closer attention to the marvels that surround us all, and is packed with handy tips to help bring nature even closer to us.

Una familia aguarda un donante de órganos para su hija enferma; unos chicos se disponen a ir a un concierto de Bruce Springsteen; un hombre en su coche pone en peligro a los demás conductores. Tres historias que se unen para ir construyendo la realidad de la vida y de la muerte. Una novela que trata con seriedad un tema tan actual como el de las donaciones de órganos.

Año 2000. La raza alienígena ilin llega a la tierra y pacta un acuerdo con la humanidad para una relación simbiótica: ofrecen sus conocimientos y tecnología a cambio de compartir sus cuerpos y los recursos terrestres. A pesar de haber algunos detractores, la nueva vida entre humanos e ilin trae consigo grandes beneficios, entre ellos un drástico descenso de la criminalidad. Es por esto que, décadas después, el mundo entero se sobrecoge ante una terrible serie de asesinatos a humanos no simbiontes. El cuerpo de la presunta última víctima no ha aparecido, así que se abre una investigación con la esperanza de salvarla a tiempo. | Obra finalista del certamen Premio Minotauro 2020.

Cuando Cristina Rivera Garza publicó su magnífico libro Había mucha neblina o humo o no sé qué dejó en claro que Juan Rulfo, en sus trayectos por el interior de México, fue desedimentando las voces que el milagro mexicano de la revolución verde había ido enterrando a través de la erradicación de comunidades enteras, sepultadas bajo el peso categórico del progreso. Esa luminosidad crítica, que ya se insinuaba conceptualmente en Los muertos indóciles y se manifiesta, materialmente, en Autobiografía del algodón, logra, en Escrituras geológicas, una teorización sofisticada y precisa, aunque, más que nada, urgente. Las escrituras geológicas son modelos de escarbar, hurgar en las capas de un pasado que se extiende y reemerge en el presente dado que nunca se ha ido. En sus capas y strata se adhieren historias de violencias coloniales y epistémicas junto a huesos y carne, junto a cultivos, laboriosidades y resistencias. Libro imprescindible –e impostergable– para revisar los tejidos materiales que han ido urdiendo las tramas históricas, tramas alojadas en los intersticios espaciales pero cuyas grietas se materializan a lo largo del tiempo en cuerpos y palabras que, por su sola existencia, impugnan su linealidad teleológica y, por lo tanto, su capacidad de construir sentidos.

Alberich, enano de las profundidades de la tierra, roba del río Rin el oro maldito, ese que hará más poderoso que los mismos dioses a aquel que sea capaz de forjarse un anillo con él. Y así el nibelungo desequilibra el orden establecido por la antigua religión…Aventura y épica en estado puro, es ésta la historia de los dioses, como Wotan, el rey tuerto que anhela recuperar el anillo, o Fricka, celosa diosa de la fidelidad; de los gigantes, entre quienes Fafner, transformado en dragón, custodia el deseado anillo; los hé Siegmund, que recupera la espada de su padre Wotan, y también su hijo Siegfried, que derrotará al dragón; y las valkirias, hijas de los dioses, como Brunilde. Sólo ellas pueden romper la maldición.Historia que nace del antiguo cantar y del drama de Wagner, con "El anillo del nibelungo" Enrique García Revilla nos transporta al fascinante universo de la mitología nórdica y germana. Amor y egoísmo, envidia y avaricia, fidelidad y engaño, crimen y vergüenza y pasiones compartidas por hombres y dioses se escenifican en un territorio común donde el orden y el caos se enfrentan para dar sentido al mundo, para conducirlo a su ocaso, con la caída de los dioses, y hacerlo renacer…

In a corporate-dominated spacefaring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by Company-supplied security androids, for their own safety. But in a society where contracts are awarded to the lowest bidder, safety isn’t a primary concern. On a distant planet, a team of scientists are conducting surface tests, shadowed by their Company-supplied ‘droid — a self-aware SecUnit that has hacked its own governor module, and refers to itself (though never out loud) as “Murderbot.” Scornful of humans, all it really wants is to be left alone long enough to figure out who it is. But when a neighboring mission goes dark, it's up to the scientists and their Murderbot to get to the truth.

Rival ornithologists hunt through England for a rare magical bird in this historical-fantasy rom-com reminiscent of Indiana Jones but with manners, tea, and helicopter parasols. Beth Pickering is on the verge of finally capturing the rare deathwhistler bird when Professor Devon Lockley swoops in, capturing both her bird and her imagination like a villain. Albeit a handsome and charming villain, but that's beside the point. As someone highly educated in the ruthless discipline of ornithology, Beth knows trouble when she sees it, and she is determined to keep her distance from Devon.  For his part, Devon has never been more smitten than when he first set eyes on Professor Beth Pickering. She's so pretty, so polite, so capable of bringing down a fiery, deadly bird using only her wits. In other words, an angel. Devon understands he must not get close to her, however, since they're professional rivals.  When a competition to become Birder of the Year by capturing an endangered caladrius bird is announced, Beth and Devon are forced to team up to have any chance of winning. Now keeping their distance becomes a question of one bed or two. But they must take the risk, because fowl play is afoot, and they can't trust anyone else—for all may be fair in love and war, but this is ornithology.

When her father leaves the Church in a crisis of conscience, Margaret Hale is uprooted from her comfortable home in Hampshire to move with her family to the north of England. Initially repulsed by the ugliness of her new surroundings in the industrial town of Milton, Margaret becomes aware of the poverty and suffering of the local mill workers and develops a passionate sense of social justice. This is intensified by her tempestuous relationship with the mill-owner and self-made man, John Thornton, as their fierce opposition over his treatment of his employees masks a deeper attraction. In North and South, Elizabeth Gaskell skillfully fuses individual feeling with social concern, and in Margaret Hale creates one of the most original heroines of Victorian literature.

Cuando Cristina Rivera Garza publicó su magnífico libro Había mucha neblina o humo o no sé qué dejó en claro que Juan Rulfo, en sus trayectos por el interior de México, fue desedimentando las voces que el milagro mexicano de la revolución verde había ido enterrando a través de la erradicación de comunidades enteras, sepultadas bajo el peso categórico del progreso. Esa luminosidad crítica, que ya se insinuaba conceptualmente en Los muertos indóciles y se manifiesta, materialmente, en Autobiografía del algodón, logra, en Escrituras geológicas, una teorización sofisticada y precisa, aunque, más que nada, urgente. Las escrituras geológicas son modelos de escarbar, hurgar en las capas de un pasado que se extiende y reemerge en el presente dado que nunca se ha ido. En sus capas y strata se adhieren historias de violencias coloniales y epistémicas junto a huesos y carne, junto a cultivos, laboriosidades y resistencias. Libro imprescindible –e impostergable– para revisar los tejidos materiales que han ido urdiendo las tramas históricas, tramas alojadas en los intersticios espaciales pero cuyas grietas se materializan a lo largo del tiempo en cuerpos y palabras que, por su sola existencia, impugnan su linealidad teleológica y, por lo tanto, su capacidad de construir sentidos.

In a corporate-dominated spacefaring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by Company-supplied security androids, for their own safety. But in a society where contracts are awarded to the lowest bidder, safety isn’t a primary concern. On a distant planet, a team of scientists are conducting surface tests, shadowed by their Company-supplied ‘droid — a self-aware SecUnit that has hacked its own governor module, and refers to itself (though never out loud) as “Murderbot.” Scornful of humans, all it really wants is to be left alone long enough to figure out who it is. But when a neighboring mission goes dark, it's up to the scientists and their Murderbot to get to the truth.