'One must be superior to mankind in force, in loftiness of soul—in contempt’ In these two devastating works, Nietzsche offers a sustained and often vitriolic attack on the morality and the beliefs of his time, in particular those of Hegel, Kant and Schopenhaur. Twilight of the Idols is a ‘grand declaration of war’ on reason, psychology and theology that combines highly charged personal attacks on his contemporaries with a lightning tour of his own philosophy. It also paves the way for The Anti-Christ , Nietzche’s final assault on institutional Christianity, in which he identifies himself with the ‘Dionysian’ artist and confronts Christ; the only opponent he feels worthy of him. In his introduction Michael Tanner discussed the themes of Nietzche’s argument and places the works in their historical and philosophical context.

'One must be superior to mankind in force, in loftiness of soul—in contempt’ In these two devastating works, Nietzsche offers a sustained and often vitriolic attack on the morality and the beliefs of his time, in particular those of Hegel, Kant and Schopenhaur. Twilight of the Idols is a ‘grand declaration of war’ on reason, psychology and theology that combines highly charged personal attacks on his contemporaries with a lightning tour of his own philosophy. It also paves the way for The Anti-Christ , Nietzche’s final assault on institutional Christianity, in which he identifies himself with the ‘Dionysian’ artist and confronts Christ; the only opponent he feels worthy of him. In his introduction Michael Tanner discussed the themes of Nietzche’s argument and places the works in their historical and philosophical context.

Returning to Russia from a sanitarium in Switzerland, the Christ-like epileptic Prince Myshkin finds himself enmeshed in a tangle of love, torn between two women—the notorious kept woman Nastasya and the pure Aglaia—both involved, in turn, with the corrupt, money-hungry Ganya. In the end, Myshkin’s honesty, goodness, and integrity are shown to be unequal to the moral emptiness of those around him. In her revision of the Garnett translation, Anna Brailovsky has corrected inaccuracies wrought by Garnett’s drastic anglicization of the novel, restoring as much as possible the syntactical structure of the original story.

Victor Hugo's tale of injustice, heroism and love follows the fortunes of Jean Valjean, an escaped convict determined to put his criminal past behind him. But his attempts to become a respected member of the community are constantly put under threat: by his own conscience, when, owing to a case of mistaken identity, another man is arrested in his place; and by the relentless investigations of the dogged Inspector Javert. It is not simply for himself that Valjean must stay free, however, for he has sworn to protect the baby daughter of Fantine, driven to prostitution by poverty.

A brand new twisted thriller that will have you cheering "good for her!" from the #1 New York Times bestselling and global sensation Freida McFadden, author of The Housemaid! Sometimes, enough is enough… Debbie Mullen is losing it. For years, she has compiled all of her best advice into her column, Dear Debbie, where the wives of New England come for sympathy and neighborly advice. Through her work, Debbie has heard from countless women who are ignored, belittled, or even abused by their husbands. And Debbie does her best to guide them in the right direction. Or at least, she did. These days, Debbie’s life seems to be spiraling out of control. She just lost her job. Something strange is happening with her teenage daughters. And her husband is keeping secrets, according to the tracking app she installed on his phone. Now, Debbie’s done being the bigger person. She’s done being reasonable and practical. It’s time to take her own advice. And now it’s time for payback against all the people in her life who deserve it the most. From #1 New York Times and international bestselling author Freida McFadden comes a biting, subversive thriller about what happens when women finally choose to take justice into their own hands – with killer results.

A brand new twisted thriller that will have you cheering "good for her!" from the #1 New York Times bestselling and global sensation Freida McFadden, author of The Housemaid! Sometimes, enough is enough… Debbie Mullen is losing it. For years, she has compiled all of her best advice into her column, Dear Debbie, where the wives of New England come for sympathy and neighborly advice. Through her work, Debbie has heard from countless women who are ignored, belittled, or even abused by their husbands. And Debbie does her best to guide them in the right direction. Or at least, she did. These days, Debbie’s life seems to be spiraling out of control. She just lost her job. Something strange is happening with her teenage daughters. And her husband is keeping secrets, according to the tracking app she installed on his phone. Now, Debbie’s done being the bigger person. She’s done being reasonable and practical. It’s time to take her own advice. And now it’s time for payback against all the people in her life who deserve it the most. From #1 New York Times and international bestselling author Freida McFadden comes a biting, subversive thriller about what happens when women finally choose to take justice into their own hands – with killer results.

The year is 1969. In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . . Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family—their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts). When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it. The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it. The God of Small Things takes on the Big Themes—Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.

The year is 1969. In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . . Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family—their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts). When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it. The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it. The God of Small Things takes on the Big Themes—Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.

Dune meets Wool in this high-octane quest through the void, where two eternal forces are about to collide in an epic showdown.When The Sinker was a child, her home was destroyed by The Construct, a floating machine that consumes all in its path. To survive, she fled into the void, a seemingly infinite nothingness filled with floating, vertically stacked rocks. While most are afraid of traveling through this void, The Sinker is not. Some rocks are giant magnets, some rocks burn with eternal flame, and some are influenced by the presence of seemingly magical objects—anomalies that defy physical laws. For half a lifetime, The Sinker has wandered the void on a quest for knowledge, for understanding, and for peace. But when rumors reach her that The Construct is near again, she knows fate has come full circle. With the help of Crooked Arm—the heir to a shattered throne who happens to possess the most powerful anomaly of all—the two of them set out on a mission to end the tyranny of The Construct forever.

A Memory Called Empire meets Miss Marple in this cozy, spaceborne mystery, helmed by a no-nonsense formidable auntie of a detective. Welcome to the HMS Fairweather, Her Majesty’s most luxurious interstellar passenger liner! Room and board are included, new bodies are graciously provided upon request, and should you desire a rest between lifetimes, your mind shall be most carefully preserved in glass in the Library, shielded from every danger. Near the topmost deck of an interstellar generation ship, Dorothy Gentleman wakes up in a body that isn’t hers—just as someone else is found murdered. As one of the ship’s detectives, Dorothy usually delights in unraveling the schemes on board the Fairweather, but when she finds that someone is not only killing bodies but purposefully deleting minds from the Library, she realizes something even more sinister is afoot. Dorothy suspects her misfortune is partly the fault of her feckless nephew Ruthie who, despite his brilliance as a programmer, leaves chaos in his cheerful wake. Or perhaps the sultry yarn store proprietor—and ex-girlfriend of the body Dorothy is currently inhabiting—knows more than she’s letting on. Whatever it is, Dorothy intends to solve this case. Because someone has done the impossible and found a way to make murder on the Fairweather a very permanent state indeed. A mastermind may be at work—and if so, they’ve had three hundred years to perfect their schemes… Told through Dorothy’s delightfully shrewd POV, Murder by Memory is an ode to the cozy mystery taken to the stars with a fresh new sci-fi take. Perfect for fans of the plot-twisty narratives of Dorothy Sayers and Ann Leckie, this well-paced story will leave readers captivated and hungry for the series’ next installment.

A Memory Called Empire meets Miss Marple in this cozy, spaceborne mystery, helmed by a no-nonsense formidable auntie of a detective. Welcome to the HMS Fairweather, Her Majesty’s most luxurious interstellar passenger liner! Room and board are included, new bodies are graciously provided upon request, and should you desire a rest between lifetimes, your mind shall be most carefully preserved in glass in the Library, shielded from every danger. Near the topmost deck of an interstellar generation ship, Dorothy Gentleman wakes up in a body that isn’t hers—just as someone else is found murdered. As one of the ship’s detectives, Dorothy usually delights in unraveling the schemes on board the Fairweather, but when she finds that someone is not only killing bodies but purposefully deleting minds from the Library, she realizes something even more sinister is afoot. Dorothy suspects her misfortune is partly the fault of her feckless nephew Ruthie who, despite his brilliance as a programmer, leaves chaos in his cheerful wake. Or perhaps the sultry yarn store proprietor—and ex-girlfriend of the body Dorothy is currently inhabiting—knows more than she’s letting on. Whatever it is, Dorothy intends to solve this case. Because someone has done the impossible and found a way to make murder on the Fairweather a very permanent state indeed. A mastermind may be at work—and if so, they’ve had three hundred years to perfect their schemes… Told through Dorothy’s delightfully shrewd POV, Murder by Memory is an ode to the cozy mystery taken to the stars with a fresh new sci-fi take. Perfect for fans of the plot-twisty narratives of Dorothy Sayers and Ann Leckie, this well-paced story will leave readers captivated and hungry for the series’ next installment.

Philosopher, theologian, critic, sociologist, political activist -- Simone Weil was among the foremost thinkers of our time. Best known in this country for her theological writing, Weil wrote on a great variety of subjects ranging from classical philosophy and poetry, to modern labor, to the language of political discourse. The present anthology offers a generous collection of her work, including essays never before translated into English and many that have long been out of print. It amply confirms Elizabeth Hardwick's words that Simone Weil was "one of the most brilliant and original minds of twentieth-century France" and "a woman of transcendent intellectual gifts and the widest learning." A longtime Weil scholar, Sian Miles has selected essays representative of the wide sweep of Weil's work and provides a superb introduction that places Weil's work in context of her life and times.

Returning to Russia from a sanitarium in Switzerland, the Christ-like epileptic Prince Myshkin finds himself enmeshed in a tangle of love, torn between two women—the notorious kept woman Nastasya and the pure Aglaia—both involved, in turn, with the corrupt, money-hungry Ganya. In the end, Myshkin’s honesty, goodness, and integrity are shown to be unequal to the moral emptiness of those around him. In her revision of the Garnett translation, Anna Brailovsky has corrected inaccuracies wrought by Garnett’s drastic anglicization of the novel, restoring as much as possible the syntactical structure of the original story.