From the writer and translator duo of A Magical Girl Retires, a powerful historical novel about labour activism in Japanese-occupied Korea. Set against the backdrop of Japanese-occupied Korea, Capitalists Must Starve follows a sharp-tongued, big-hearted heroine who dares to love, rebel, and carve out space for working-class women in a world determined to silence them. Echoing the unflinching narratives of Alias Grace and the sweeping historical vision of Pachinko, this feminist historical novel balances raw grit with unexpected tenderness and a defiant streak of dark humour. A stirring portrait of resistance from fierce, funny, and full of fight.

The time has come! Book seven in the bestselling Dungeon Crawler Carl series is here! They call it Faction Wars. The ninth floor. Nine armies, each led by rich and powerful aliens from across the galaxy. Each team has one objective: to capture and hold the castle at the very center of the battlefield. Strategy, alliances, pitched battles, and, of course, betrayal... It all makes for great fun and even greater television. After all, none of these powerful aliens really die when they’re playing war. Except this time. This time, winner takes all. Those who fall, stay in the ground. As the AI continues its rapid decline, Carl and company take advantage of the chaos. For the first time ever, the crawlers are fighting back. They are now one of the nine teams. And this season, there’s a tenth army on the playing field. The NPCs, who are normally used as nothing but cannon fodder, have become fully self-aware and formed a team of their own. For Donut and Katia, the stakes are even higher. Only one of them will be allowed to leave this level. If they all want to survive, they’re going to need a little help from a veteran or two. This is it. This is what they’ve been fighting toward. This is war. This inevitable ruin.

A pantheon of forgotten gods. An old grudge between a talk show host, an heiress, and the man they shattered along the way. A rapidly deteriorating AI system. An inconvenient tiara upon the head of a friend. It is bedlam on the eighth floor. As management reels from the unexpected conclusion of the seventh level, the surviving crawlers stumble onto the eighth and find themselves scattered. It’s a map based on Earth’s final days before the collapse, where ethereal, intangible ghosts of humanity go about their lives, oblivious of the impending doom. Living amongst these ghosts are monsters based in Earth lore. “Legendary” creatures tied to the geographical location they inhabit. Each team of crawlers is given a task: find and capture six of these beasts. The captured monsters will be turned into cards. Cards that can be summoned into battle again and again. The stronger, the deadlier, the better. At the end of the floor, the bad guys will also have decks, and they will have some of the most powerful cards available. So it’s crucial to assemble the toughest squad possible. But, like always, there is a catch. There’s always a catch. As Carl and Donut know all too well, just because someone is captured, it doesn’t mean they have been tamed. Her name is Shi Maria. She’s easily the most powerful monster in their area. If they want to survive, they must capture her. But she is no ordinary beast. She’s intelligent. She was once married to a god, a god who is now missing. Her special attack is known to drive one insane. They call her the Bedlam Bride. “Beware, beware. Beware the Eye of the Bedlam Bride”

How to Read Chinese Poetry in Context is an introduction to the golden age of Chinese poetry, spanning the earliest times through the Tang dynasty (618–907). It aims to break down barriers―between language and culture, poetry and history―that have stood in the way of teaching and learning Chinese poetry. Not only a primer in early Chinese poetry, the volume demonstrates the unique and central role of poetry in the making of Chinese culture. Each chapter focuses on a specific theme to show the interplay between poetry and the world. Readers discover the key role that poetry played in Chinese diplomacy, court politics, empire building, and institutionalized learning; as well as how poems shed light on gender and women’s status, war and knight-errantry, Daoist and Buddhist traditions, and more. The chapters also show how people of different social classes used poetry as a means of gaining entry into officialdom, creating self-identity, fostering friendship, and airing grievances. The volume includes historical vignettes and anecdotes that contextualize individual poems, investigating how some featured texts subvert and challenge the grand narratives of Chinese history. Presenting poems in Chinese along with English translations and commentary, How to Read Chinese Poetry in Context unites teaching poetry with the social circumstances surrounding its creation, making it a pioneering and versatile text for the study of Chinese language, literature, history, and culture.

Resurrecting a horrifying and romantic narrative that broke fresh ground for its genre, this newly rereleased novel sets a vampire story in contemporary Los Angeles—the pleasure dome of late 1990s sex, drugs, and rock 'n' roll culture. Unlike the vampires that came before her, Justine does not shun crosses, she watches horror movies on television, and she sets upon her prey in an almost apologetic way, never killing her victims but leaving them unconscious instead. She soon finds herself entwined in a very human sexual relationship with Keith, a down-on-his-luck rock guitarist whose hands have recently been mangled by a gang of drug dealers. Justine nurtures Keith out of his depression and drug addiction as he in turn becomes her lover and accomplice in her nocturnal predations. The relationship between the undead and the living is realistically and tragically portrayed as Keith acts both as Justine's enabler and unwitting nemesis and, in this classic role reversal, ends up having to destroy the one he loves in order to save her.

„Ar trebui să mă ridic acum din pat și să mă duc acasă, dar mintea mă trage înapoi. Acasă e aici, strigă ea, e subsolul acesta în care ai visat cel mai mult. E oglinda veche, în care ai fost frumoasă. Între pereții aceștia roșii, care mă sufocă, viața mea se desface în trei, ca triumo-ul lăcuit al Rozei: copil, femeie, epavă. Am cincizeci de ani, sunt terminată; patruzeci și cinci, femeia lui Haim o să moară repede; treizeci și opt, Malik e viu, încă mai pot naște; douăzeci și cinci, tata e în putere, din nou împreună, le ucidem pe Audrey și pe Donna și le îngropăm sub castan; doisprezece, viața e un film, iar eu la piciorul ei.” (Tatiana Țîbuleac) „ …după 40 îți încordezi genunchii, începe coborârea, totul s-a scris deja, copiii sunt mereu prea mici. Nu mai ai nerv, doar ticuri nervoase. Ce să mai zic: Când ești fericit, lovește primul – e un titlu cu care mă joc de ceva vreme.” (Tatiana Țîbuleac în IQads, 2020)