Two sisters, four nights, one city. April, 1941. Belfast has escaped the worst of the war -- so far. Over the next two months, it's going to be destroyed from above, so that people will say, in horror, My God, Belfast is finished. Many won't make it through, and no one who does will remain unchanged. Following the lives of sisters Emma and Audrey -- one engaged to be married, the other in a secret relationship with another woman -- as they try to survive the horrors of the four nights of bombing which were the Belfast Blitz, These Days is a timeless and heart-breaking novel about living under duress, about family, and about how we try to stay true to ourselves.

Introduced by Carmen Maria Machado, the radical dystopian classic, lost for forty years: in a nightmarish through-a-glass-darkly Britain, they are coming closer . 'I remembered how they began, a parody for the newspapers. No one wrote about them now.' Life on the windswept Sussex coast goes on as it has for centuries. But this is England through-a-glass-darkly. They are coming closer. It begins with a dead dog, shadowy footsteps, confiscated books. The National Gallery is cleared; motorway checkpoints demarcate Areas; the Art Centres are raided. The surviving writers, artists, and thinkers become cultural refugees, preserving their crafts, creating, loving, and remembering. But as subversives are gleaned by military surveys, cured of identity, desensitised in retreats, they make it easier to forget ... Lost for over forty years, Kay Dick's They is an electrifying literary artefact. As enigmatic as a nightmare, it is a cry from the soul against censorship and conformity, a radical celebration of queerness and self-expression - and a warning.

A heartbreaking and hilarious memoir by iCarly and Sam & Cat star Jennette McCurdy about her struggles as a former child actor—including eating disorders, addiction, and a complicated relationship with her overbearing mother—and how she retook control of her life. Jennette McCurdy was six years old when she had her first acting audition. Her mother’s dream was for her only daughter to become a star, and Jennette would do anything to make her mother happy. So she went along with what Mom called “calorie restriction,” eating little and weighing herself five times a day. She endured extensive at-home makeovers while Mom chided, “Your eyelashes are invisible, okay? You think Dakota Fanning doesn’t tint hers?” She was even showered by Mom until age sixteen while sharing her diaries, email, and all her income. In I’m Glad My Mom Died , Jennette recounts all this in unflinching detail—just as she chronicles what happens when the dream finally comes true. Cast in a new Nickelodeon series called iCarly , she is thrust into fame. Though Mom is ecstatic, emailing fan club moderators and getting on a first-name basis with the paparazzi (“Hi Gale!”), Jennette is riddled with anxiety, shame, and self-loathing, which manifest into eating disorders, addiction, and a series of unhealthy relationships. These issues only get worse when, soon after taking the lead in the iCarly spinoff Sam & Cat alongside Ariana Grande, her mother dies of cancer. Finally, after discovering therapy and quitting acting, Jennette embarks on recovery and decides for the first time in her life what she really wants. Told with refreshing candor and dark humor, I’m Glad My Mom Died is an inspiring story of resilience, independence, and the joy of shampooing your own hair.

Introduced by Carmen Maria Machado, the radical dystopian classic, lost for forty years: in a nightmarish through-a-glass-darkly Britain, they are coming closer . 'I remembered how they began, a parody for the newspapers. No one wrote about them now.' Life on the windswept Sussex coast goes on as it has for centuries. But this is England through-a-glass-darkly. They are coming closer. It begins with a dead dog, shadowy footsteps, confiscated books. The National Gallery is cleared; motorway checkpoints demarcate Areas; the Art Centres are raided. The surviving writers, artists, and thinkers become cultural refugees, preserving their crafts, creating, loving, and remembering. But as subversives are gleaned by military surveys, cured of identity, desensitised in retreats, they make it easier to forget ... Lost for over forty years, Kay Dick's They is an electrifying literary artefact. As enigmatic as a nightmare, it is a cry from the soul against censorship and conformity, a radical celebration of queerness and self-expression - and a warning.

'Popular history at its best' Spectator 'Boisterous… replete with stabbings, bashing and thumping' Daily Mail 'A cocktail of brutal, tragic, and fascinating true crime from the era of the Tudors and Stuarts. This dark history at its best, narrated with empathy and precision' Gareth Russell LADY KILLERS AND FEMME FATALES – STORIES OF MURDER MOST FOUL – HAVE GRIPPED PUBLIC IMAGINATION FOR CENTURIES Early Modern Britain was awash with pamphlets, ballads, woodcuts broadcasting bloodthirsty tales of traitorous wives, greedy mistresses, cunning female poisoning lacing the supper with deadly substances; of child killers and spiteful witches, stories of women wholly and unnaturally wicked. These were printed or sung, tacked the walls of alehouses, sold in the streets for pennies and read voraciously to thrill all. But why? When the vast majority of murders then (and now) are committed by men. In this bold, page-turning new history, former police officer and historian Blessin Adams tells stories of women whose violent crimes shattered the narrow confines of their gender – and whose notoriety revealed a society that was at once repulsed by and attracted to murderous female rebellion. Based on detailed research in court archives, each chapter explores murders that thrilled and terrified the British public; the crimes that caused the most concern and provoked the most debate. Women in this period killed rarely, and when they did it was usually within the context of extreme provocation or domestic violence. Adams has the ability of the best crime novelists in recreating the setting in which each case occurred as well as the motivations of each perpetrator. Thou Savage Woman reminds us that women in the past had voices, that they sought to control their bodies and their environments and that they also had the capacity for committing acts of unspeakable violence.

A collection of scenes from Nezha's point of view throughout the first two novels in the trilogy, and in an opening scene of the final novel in the trilogy. It is recommended to be read after the first 5 chapters of The Burning God (Book #3).

'Popular history at its best' Spectator 'Boisterous… replete with stabbings, bashing and thumping' Daily Mail 'A cocktail of brutal, tragic, and fascinating true crime from the era of the Tudors and Stuarts. This dark history at its best, narrated with empathy and precision' Gareth Russell LADY KILLERS AND FEMME FATALES – STORIES OF MURDER MOST FOUL – HAVE GRIPPED PUBLIC IMAGINATION FOR CENTURIES Early Modern Britain was awash with pamphlets, ballads, woodcuts broadcasting bloodthirsty tales of traitorous wives, greedy mistresses, cunning female poisoning lacing the supper with deadly substances; of child killers and spiteful witches, stories of women wholly and unnaturally wicked. These were printed or sung, tacked the walls of alehouses, sold in the streets for pennies and read voraciously to thrill all. But why? When the vast majority of murders then (and now) are committed by men. In this bold, page-turning new history, former police officer and historian Blessin Adams tells stories of women whose violent crimes shattered the narrow confines of their gender – and whose notoriety revealed a society that was at once repulsed by and attracted to murderous female rebellion. Based on detailed research in court archives, each chapter explores murders that thrilled and terrified the British public; the crimes that caused the most concern and provoked the most debate. Women in this period killed rarely, and when they did it was usually within the context of extreme provocation or domestic violence. Adams has the ability of the best crime novelists in recreating the setting in which each case occurred as well as the motivations of each perpetrator. Thou Savage Woman reminds us that women in the past had voices, that they sought to control their bodies and their environments and that they also had the capacity for committing acts of unspeakable violence.

A memoir about growing up Korean American, losing her mother, and forging her own identity. Michelle Zauner tells of growing up one of the few Asian American kids at her school in Eugene, Oregon; of struggling with her mother’s particular, high expectations of her; of a painful adolescence; of treasured months spent in her grandmother’s tiny apartment in Seoul, where she and her mother would bond, late at night, over heaping plates of food. As she grew up, moving to the East Coast for college, finding work in the restaurant industry, and performing gigs with her fledgling band—and meeting the man who would become her husband—her Koreanness began to feel ever more distant, even as she found the life she wanted to live. It was her mother’s diagnosis of terminal cancer, when Michelle was twenty-five, that forced a reckoning with her identity and brought her to reclaim the gifts of taste, language, and history her mother had given her.