A woman must confront the demons of her past when she attempts to fix up her childhood home in this devilishly clever take on the haunted house novel from the USA Today bestselling author. Clio Louise Barnes leads a picture-perfect life as a stylist and influencer, but beneath the glossy veneer she harbors a not-so glamorous secret: she grew up in a haunted house. Well, not haunted. Possessed. After Clio’s parent’s messy divorce, her mother, Alex, moved Clio and her sisters into a house occupied by a demon. Or so Alex claimed. That’s not what Clio’s sisters remember or what the courts determined when they stripped Alex of custody after she went off the deep end. But Alex was insistent; she even wrote a book about her experience in the house. After Alex’s sudden death, the supposedly possessed house passes to Clio and her sisters. Where her sisters see childhood trauma, Clio sees an opportunity for house flipping content. Only, as the home makeover process begins, Clio discovers there might be some truth to her mother’s claims. As memories resurface and Clio finally reads her mother’s book, the presence in the house becomes more real, and more sinister, revealing ugly truths that threaten to shake Clio’s beautiful life to its very foundation.

Jennifer Thorne skewers all-too-familiar family dynamics in this sly, wickedly funny vacation-Gothic. Beautifully unhinged and deeply satisfying, Diavola is a sharp twist on the classic haunted house story, exploring loneliness, belonging, and the seemingly inescapable bonds of family mythology. Anna has two rules for the annual Pace family destination vacations: Tread lightly and survive. It isn’t easy when she’s the only one in the family who doesn’t quite fit in. Her twin brother, Benny, goes with the flow so much he’s practically dissolved, and her older sister, Nicole, is so used to everyone—including her blandly docile husband and two kids—falling in line that Anna often ends up in trouble for simply asking a question. Mom seizes every opportunity to question her life choices, and Dad, when not reminding everyone who paid for this vacation, just wants some peace and quiet. The gorgeous, remote villa in tiny Monteperso seems like a perfect place to endure so much family togetherness, until things start going off the rails—the strange noises at night, the unsettling warnings from the local villagers, and the dark, violent past of the villa itself. (Warning: May invoke feelings of irritation, dread, and despair that come with large family gatherings.)

An imprisoned prince. A vengeful queen. And a battle that will determine the future of Elfhame.   Prince Oak is paying for his betrayal. Imprisoned in the icy north and bound to the will of a monstrous new queen, he must rely on charm and calculation to survive. With High King Cardan and High Queen Jude willing to use any means necessary to retrieve their stolen heir, Oak will have to decide whether to attempt regaining the trust of the girl he’s always loved or to remain loyal to Elfhame and hand over the means to end her reign—even if it means ending Wren, too.

   With a new war looming on the horizon and treachery lurking in every corner, neither Oak’s guile nor his wit will be enough to keep everyone he loves alive. It’s just a question of whom he will doom. From the #1 New York Times bestselling author Holly Black comes the stunning blood-soaked conclusion to the Stolen Heir duology.  

A heady, dark-hued Gothic gem of a debut in nineteenth-century Bulgaria, a self-proclaimed vampire slayer—actually, a traveling con artist—joins forces with a teenage girl to create a monster deadly enough to vanquish their own demons.  We make monsters in order to destroy them. For thousands of years, we’ve named witches and burned them, suspected demons and exorcised them. When crops die and children fall ill, who better to blame than a monster? In nineteenth-century Bulgaria, Yana rides from one desolate town to the next, staging grisly displays while the villagers animal corpses in the public square, eggs filled with blood in the chicken coop. She tells the stricken villagers stories of vampires that stalk the night. Then Yana eliminates the threat, and leaves seeds of hope in her wake. The village of Koprivici, however, is plagued by exceptional illness and misfortune, its children rarely surviving infancy. There, Yana meets a headstrong orphan who the villagers blame for their curse. As Anka approaches womanhood, the village Captain is grooming her for marriage against her will. Anka is powerless against him—that is, until Yana arrives. Together, the orphan and the vampire slayer hatch a to conjure a monster so vile, it might provide cover for Anka to escape. But their plan quickly takes on a horrifying life of its own... Inspired by Slavic folklore, She Made Herself a Monster concocts a clever mix of witchery, ghost stories, heresy, and deception to spin a feminist fable about agency and the power of collective action. It is a haunting and astoundingly cathartic tale of two women who will stop at nothing to take control of their fate. 

Der Diskurs ist in aller Munde - aber nicht jeder, der den Begriff benutzt, weiß, wovon er spricht. Achim Landwehr erläutert zunächst die verschiedenen Wurzeln einer historischen Diskursanalyse: von der Begriffsgeschichte Kosellecks über die Arbeiten Hayden Whites bis zu Michel Foucault, der den Begriff des Diskurses entscheidend geprägt hat. Auf dieser Grundlage zeigt Landwehr, welchen Nutzen die analytische Kategorie des Diskurses für die Geschichtswissenschaft hat. Schließlich wird dargestellt, wie sich empirisch fundierte historische Diskursanalysen durchführen lassen und welche Arbeitsschritte es dabei zu beachten gilt - von der Themenfindung über die Untersuchung von Kontexten bis zur Analyse von Aussagen und Texten. Für alle, die sich mit dieser einflussreichen Theorie und Methode vertraut machen wollen, ist der Band eine unverzichtbare Grundlage.

Der Diskurs ist in aller Munde - aber nicht jeder, der den Begriff benutzt, weiß, wovon er spricht. Achim Landwehr erläutert zunächst die verschiedenen Wurzeln einer historischen Diskursanalyse: von der Begriffsgeschichte Kosellecks über die Arbeiten Hayden Whites bis zu Michel Foucault, der den Begriff des Diskurses entscheidend geprägt hat. Auf dieser Grundlage zeigt Landwehr, welchen Nutzen die analytische Kategorie des Diskurses für die Geschichtswissenschaft hat. Schließlich wird dargestellt, wie sich empirisch fundierte historische Diskursanalysen durchführen lassen und welche Arbeitsschritte es dabei zu beachten gilt - von der Themenfindung über die Untersuchung von Kontexten bis zur Analyse von Aussagen und Texten. Für alle, die sich mit dieser einflussreichen Theorie und Methode vertraut machen wollen, ist der Band eine unverzichtbare Grundlage.

A heady, dark-hued Gothic gem of a debut in nineteenth-century Bulgaria, a self-proclaimed vampire slayer—actually, a traveling con artist—joins forces with a teenage girl to create a monster deadly enough to vanquish their own demons.  We make monsters in order to destroy them. For thousands of years, we’ve named witches and burned them, suspected demons and exorcised them. When crops die and children fall ill, who better to blame than a monster? In nineteenth-century Bulgaria, Yana rides from one desolate town to the next, staging grisly displays while the villagers animal corpses in the public square, eggs filled with blood in the chicken coop. She tells the stricken villagers stories of vampires that stalk the night. Then Yana eliminates the threat, and leaves seeds of hope in her wake. The village of Koprivici, however, is plagued by exceptional illness and misfortune, its children rarely surviving infancy. There, Yana meets a headstrong orphan who the villagers blame for their curse. As Anka approaches womanhood, the village Captain is grooming her for marriage against her will. Anka is powerless against him—that is, until Yana arrives. Together, the orphan and the vampire slayer hatch a to conjure a monster so vile, it might provide cover for Anka to escape. But their plan quickly takes on a horrifying life of its own... Inspired by Slavic folklore, She Made Herself a Monster concocts a clever mix of witchery, ghost stories, heresy, and deception to spin a feminist fable about agency and the power of collective action. It is a haunting and astoundingly cathartic tale of two women who will stop at nothing to take control of their fate. 

Ada schläft kaum noch, seit sie nach ihrer Endometriose-OP Medikamente nimmt. Sie lauscht den Geräuschen ihres Wohnhauses und erinnert sich zurü an den Sommer ihrer Jugend, den sie zusammen mit ihrer Cousine Lill in ihrer Heimat an der Ostseeküste verbringt. Die Tage sind bestimmt vom Perfektionieren des eigenen Körpers und der Begegnung mit Elja, die Adas Welt ins Wanken bringt. Doch mitten in diesem Jahrhundertsommer 2003 beginnt ein Schmerz, und mit ihm das Schweigen, das Ada zunehmend von ihrer Außenwelt trennt. Paradise Beach ist ein berührender Coming-of-Age-Roman über die Erinnerung an einen flirrenden Sommer, der bis in die Gegenwart wirkt. Ein kunstvoll-melancholisches Debüt.