Told in Kvothe's own voice, this is the tale of the magically gifted young man who grows to be the most notorious wizard his world has ever seen. The intimate narrative of his childhood in a troupe of traveling players, his years spent as a near-feral orphan in a crime-ridden city, his daringly brazen yet successful bid to enter a legendary school of magic, and his life as a fugitive after the murder of a king form a gripping coming-of-age story unrivaled in recent literature. A high-action story written with a poet's hand, The Name of the Wind is a masterpiece that will transport readers into the body and mind of a wizard.

Many are familiar with Joseph Campbell's theory of the hero's journey, the idea that every man from Moses to Hercules grows to adulthood while battling his alter-ego. This book explores the universal heroine's journey as she quests through world myth. Numerous stories from cultures as varied as Chile and Vietnam reveal heroines who battle for safety and identity, thereby upsetting popular notions of the passive, gentle heroine. Only after she has defeated her dark side and reintegrated can the heroine become the bestower of wisdom, the protecting queen and arch-crone.

In The Fantastic, Tzvetan Todorov seeks to examine both generic theory and a particular genre, moving back and forth between a poetics of the fantastic itself and a metapoetics or theory of theorizing, even as he suggest that one must, as a critic, move back and forth between theory and history, between idea and fact. His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory. As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

A comparative study of cities that fell into ruin through human involvement. We have been taught to think of ruins as historical artifacts, relegated to the past by a catastrophic event. Instead, Martin Devecka argues that we should see them as processes taking place over a long present. In Broken Cities, Devecka offers a wide-ranging comparative study of ruination, the process by which monuments, architectural sites, and urban centers decay into ruin over time. Weaving together four case studies―of classical Athens, late antique Rome, medieval Baghdad, and sixteenth-century Mexico City―Devecka shows that ruination is a complex social process largely contingent on changing imperial control rather than the result of immediate or natural events. Drawing on literature, legal texts, epigraphic evidence, and the narratives embodied in monuments and painting, Broken Cities is an expansive and nuanced study that holds great significance for the field of historiography.

T.H White′s masterful retelling of the Arthurian legend is an abiding classic. Here all five volumes that make up the story are published in one volume, as White himself always wished. Exquisite comedy offsets the tragedy of Arthur′s personal doom as White brings to life the major British epic of all time with brilliance, grandeur, warmth and charm.

This is the way the world ends. Again. Three terrible things happen in a single day. Essun, a woman living an ordinary life in a small town, comes home to find that her husband has brutally murdered their son and kidnapped their daughter. Meanwhile, mighty Sanze -- the world-spanning empire whose innovations have been civilization's bedrock for a thousand years -- collapses as most of its citizens are murdered to serve a madman's vengeance. And worst of all, across the heart of the vast continent known as the Stillness, a great red rift has been torn into the heart of the earth, spewing ash enough to darken the sky for years. Or centuries. Now Essun must pursue the wreckage of her family through a deadly, dying land. Without sunlight, clean water, or arable land, and with limited stockpiles of supplies, there will be war all across the Stillness: a battle royale of nations not for power or territory, but simply for the basic resources necessary to get through the long dark night. Essun does not care if the world falls apart around her. She'll break it herself, if she must, to save her daughter.