A new, feminist translation of Beowulf by the author of The Mere Wife. Nearly twenty years after Seamus Heaney’s translation of Beowulf — and fifty years after the translation that continues to torment high-school students around the world — there is a radical new verse translation of the epic poem by Maria Dahvana Headley, which brings to light elements never before translated into English. A man seeks to prove himself as a hero. A monster seeks silence in his territory. A warrior seeks to avenge her murdered son. A dragon ends it all. These familiar components of the epic poem are seen with a novelist’s eye toward gender, genre, and history. Beowulf has always been a tale of entitlement and encroachment — of powerful men seeking to become more powerful and one woman seeking justice for her child — but this version brings new context to an old story. While crafting her contemporary adaptation, Headley unearthed significant shifts lost over centuries of translation; her Beowulf is one for the twenty-first century.

Ioana powert sich aus: im Job und dabei, stets die Erwartungen ihrer rumänischen Familie zu erfüllen. Als ihr Großvater stirbt, gerät sie an ihre Grenzen – und muss sich dabei neu erfinden. Alexandra-Maria Pipos erzählt humorvoll und temporeich von einer jungen Heldin im Spagat zwischen zwei Ländern und verschiedenen Versionen ihrer selbst. Sowohl in ihrem Job bei Cadris Consulting als auch als aufopferungsvolle Tochter: Ioana glaubt an Leistung. Dass die Grenzen zwischen Selbstoptimierung und Wahn fließend ineinander übergehen, ignoriert sie. Zu wichtig ist der bevorstehende Pitch, der ihr die langersehnte Senior-Position bringen soll. Dann muss sie unerwartet zur Beerdigung ihres Großvaters nach Rumänien. Dort angekommen und mit einem Ohr immer noch in Kunden-Calls, mit dem anderen schon bei den Witzen ihres Onkels Radu, wird sie mit ihrer verrückt-liebenswürdigen bis abgründigen Familiengeschichte konfrontiert – und einem Land, das sie so nicht mehr kennt. Bald beginnt sie zu zweifeln, an den Erinnerungen aus den Sommern ihrer Kindheit, den Geschichten ihrer Eltern. Am Ende muss sie eine unmögliche Entscheidung treffen und sich fragen, was sie mit den Scherben anfangen soll, die man ihr hinterlassen hat.

Ursula K. Le Guin’s groundbreaking work of science fiction—winner of the Hugo and Nebula Awards. A lone human ambassador is sent to the icebound planet of Winter, a world without sexual prejudice, where the inhabitants’ gender is fluid. His goal is to facilitate Winter’s inclusion in a growing intergalactic civilization. But to do so he must bridge the gulf between his own views and those of the strange, intriguing culture he encounters... Embracing the aspects of psychology, society, and human emotion on an alien world, The Left Hand of Darkness stands as a landmark achievement in the annals of intellectual science fiction.

It has influenced William Gibson and been listed as one of the ten essential works of science fiction. Most importantly, Joanna Russ's THE FEMALE MAN is a suspenseful, surprising and darkly witty chronicle of what happens when Jeannine, Janet, Joanna, and Jael—four alternative selves from drastically different realities—meet.

The award-winning masterpiece by one of today’s most honored writers! The Word for World is ForestWhen the inhabitants of a peaceful world are conquered by the bloodthirsty yumens, their existence is irrevocably altered. Forced into servitude, the Athsheans find themselves at the mercy of their brutal masters. Desperation causes the Athsheans, led by Selver, to retaliate against their captors, abandoning their strictures against violence. But in defending their lives, they have endangered the very foundations of their society. For every blow against the invaders is a blow to the humanity of the Athsheans. And once the killing starts, there is no turning back. At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.

Ioana powert sich aus: im Job und dabei, stets die Erwartungen ihrer rumänischen Familie zu erfüllen. Als ihr Großvater stirbt, gerät sie an ihre Grenzen – und muss sich dabei neu erfinden. Alexandra-Maria Pipos erzählt humorvoll und temporeich von einer jungen Heldin im Spagat zwischen zwei Ländern und verschiedenen Versionen ihrer selbst. Sowohl in ihrem Job bei Cadris Consulting als auch als aufopferungsvolle Tochter: Ioana glaubt an Leistung. Dass die Grenzen zwischen Selbstoptimierung und Wahn fließend ineinander übergehen, ignoriert sie. Zu wichtig ist der bevorstehende Pitch, der ihr die langersehnte Senior-Position bringen soll. Dann muss sie unerwartet zur Beerdigung ihres Großvaters nach Rumänien. Dort angekommen und mit einem Ohr immer noch in Kunden-Calls, mit dem anderen schon bei den Witzen ihres Onkels Radu, wird sie mit ihrer verrückt-liebenswürdigen bis abgründigen Familiengeschichte konfrontiert – und einem Land, das sie so nicht mehr kennt. Bald beginnt sie zu zweifeln, an den Erinnerungen aus den Sommern ihrer Kindheit, den Geschichten ihrer Eltern. Am Ende muss sie eine unmögliche Entscheidung treffen und sich fragen, was sie mit den Scherben anfangen soll, die man ihr hinterlassen hat.

The award-winning masterpiece by one of today’s most honored writers! The Word for World is ForestWhen the inhabitants of a peaceful world are conquered by the bloodthirsty yumens, their existence is irrevocably altered. Forced into servitude, the Athsheans find themselves at the mercy of their brutal masters. Desperation causes the Athsheans, led by Selver, to retaliate against their captors, abandoning their strictures against violence. But in defending their lives, they have endangered the very foundations of their society. For every blow against the invaders is a blow to the humanity of the Athsheans. And once the killing starts, there is no turning back. At the publisher's request, this title is being sold without Digital Rights Management software (DRM) applied.

Tudor-England, wie Sie noch nie von ihm gelesen haben, samt unvergesslicher Heldin – Tibb Ingleby! Die erste Regel des Bleib nicht zu lange an einem Ort, sonst fällt es den Mistkerlen auf Tibb Ingleby hat kein Zuhause, keine Familie, niemanden, der sie beschützt – nur die Regeln, die ihre Mutter sie gelehrt hat. Als junge Vagabundin trickst sie sich durchs Leben, naiv, aber alles andere als dumm, furchtlos, aber mit einer gehörigen Portion Misstrauen gegenüber der Welt, allen voran den Männern darin. Doch auf ihrem Weg durch die Wälder und Felder des spätmittelalterlichen Englands trifft sie nicht zuletzt auf ebenso verlorene wie liebenswerte Außenseiter, Ausreißer und Schausteller. Tibb lernt, dass ein Zuhause nicht unbedingt ein Dach über dem Kopf bedeutet. Und endlich nicht mehr allein wagt sie ihre bisher größte Schwindelei. Pikes Debütroman ist unglaublich frech und gleichzeitig tief bewegend wie zeitlos. »Tibb Inglebys frische, respektlose Stimme ist schlichtweg brillant.« Bonnie Garmus, Autorin von Eine Frage der Chemie »Eine kleine Schwindelei ist witzig, sprachlich einfallsreich und wütend über all die richtigen Dinge.« Sandra Newman, Autorin von Julia »Versuchen Sie gar nicht erst, sich der ungezügelten Energie und dem frechen Humor dieses schelmischen Tudor-Romans zu entziehen – erzählt aus der Perspektive der großherzigen, fluchfreudigen Tibb.« The Bookseller, Editor's Choice Sunday-Times-Bestseller Nominiert für den Women's Prize for Fiction Shortlist des Winston Graham Historical Fiction Prize

Vampires and vaqueros face off on the Texas-Mexico border in this supernatural western from the author of The Hacienda. As the daughter of a rancher in 1840s Mexico, Nena knows a thing or two about monsters—her home has long been threatened by tensions with Anglo settlers from the north. But something more sinister lurks near the ranch at night, something that drains men of their blood and leaves them for dead. Something that once attacked Nena nine years ago. Believing Nena dead, Néstor has been on the run from his grief ever since, moving from ranch to ranch working as a vaquero. But no amount of drink can dispel the night terrors of sharp teeth; no woman can erase his childhood sweetheart from his mind. When the United States attacks Mexico in 1846, the two are brought abruptly together on the road to war: Nena as a curandera, a healer striving to prove her worth to her father so that he does not marry her off to a stranger, and Néstor as a member of the auxiliary cavalry of ranchers and vaqueros. But the shock of their reunion—and Nena’s rage at Néstor for seemingly abandoning her long ago—is quickly overshadowed by the appearance of a nightmare made flesh. And unless Nena and Néstor work through their past and face the future together, neither will survive to see the dawn.

In this debut novel, a young woman in the Rocky Mountains, separated from the ancestral rhythms of her home in Scotland, turns to ancient rituals to find solace and connection. With shades of Olga Tokarczuk, Ali Smith, and Rachel Cusk, Hovel is a book for those fascinated by female interiority. Homesickness takes many forms. Alone in the mountains because of her husband’s job, occupied by little more than online video captioning she calls “kitten work,” our narrator becomes fascinated by the not-long-gone life of her Scottish ancestors, a time when the lamplighter took the night off for the full moon, girls bathed their faces in morning dew, and people sang to the seals. Her husband, however, is unsure of the emotional efficacy of cooking by candlelight, peeing in the woods, and writing vexed letters to the mayor about the birds living in the doomed aspens behind their apartment building. Especially because the letters are being read, out loud, at the town meetings attended by unimpressed neighbours. But our narrator is bewitched by the liminality of memory. In a novel of compelling poetic precision and depth, Ross captures the lengths we go to for connection when we’re alone, following threads of personal history and fascination to conclusions one can only reach when there’s too much time on one’s hands and it’s too cold to go outside.

“Madeleine Dunnigan is an important new voice in fiction. She tells this most unique coming–of–age story with strength and delicacy, emotion and precision.”—Jonathan Safran Foer Seventeen–year–old Jean, a troubled Jewish boy caught in the countercultural swirl of 1970s London, arrives at Compton Manor, a rural alternative boarding school for boys with “problems.” Though he is an outcast among these outcasts, he is befriended by Tom, a much wealthier, more popular classmate, and it seems as if Jean’s world might change. When things turn romantic, Jean is tipped into a heady, overwhelming infatuation. What before seemed odd now brims with promise—the compulsory farming at school, reading poetry aloud, pagan ritual—and Jean thinks he might even pass his exams. But the differences between Tom and Jean—Tom is tuition–paying, Jean is on a scholarship; Tom social, Jean reclusive—create too wide a chasm to cross. Set over one hot summer, Jean is a startlingly assured debut about the kinds of love that break us and make us whole.

Mei loses her Japanese mother at age six. Growing up in suburban Surrey, she yearns to fit in, suppressing both her heritage and her growing love for her best friend Fran. Yuki leaves the Japanese countryside to pursue her dream of becoming a concert violinist in London. Lonely and far from home, she finds herself caught up in the charms of her older teacher. Haruka attempts to navigate Tokyo’s nightlife and all of its many vices, working as a hostess in seedy bars. She grieves a mother who hid so many secrets from her, until finally one of those secrets comes to light . . . Shifting between three intertwining narratives, Mongrel reveals a tangled web of isolation, desire, love, and ultimately, hope.

From the #1 bestselling author of Autumn of the Grimoire, J.L. Vampa, comes a brand new dark academia romance in the vein of Ninth House meets If We Were Villains and Nocticadia. She is the daughter of morticians, studying Botany at Trinity College, Dublin. He is her Morbid Anatomy professor. And the Fae are possessing the good people of Dublin. Only Atta and Professor Murdoch can exorcize the fae, but can they fight their forbidden feelings for one another in the process? It is said they are but lore. It is said they are but demons. It is said this is but a plague. Wayward spirits. Ghosts. Spectres. Ghouls. The truth beckons Tick flick tick The clock keeps time with the candle Until they all get sick Wax slides down the gilded stick And the Fae invade with bramble --------------------------------- Trinity College, Dublin 5th November, 1993 He always reads standing in front of the shelf, one hand shoved in his pocket until it’s time to flip the page. It’s the first thing I noticed about him, while I was supposed to be studying. Instead, I watched him move from shelf to shelf and book to book. I had no idea at the time that I would one day meet him and he would change everything. We would change everything. -Excerpt from the diary of Ariatne Morrow, found in the wreckage at Ground Zero

London, 1668. Though the streets hum with promise following the restoration of the crown, Lucy North is trapped. Her father's recent death has left her mother saddled with debts she cannot pay. Lucy must marry the first man willing to take her without a dowry. She has no choice.Then she meets Thomas Ashwell, a young and charming apothecary, who offers her a route out. Lucy is quick to fall in love, and when Thomas proposes she has no hesitation in accepting him.But, on the eve of her wedding, Lucy falls and injures her head. Confined to her bedroom while surrendering to the care of her concerned fiancée, Lucy's world soon starts to take on a warped, dreamlike – or nightmarish – quality. Can she really trust this man?

A heartbreakingly gorgeous and lyrically haunting debut novel about grief in the aftermath of baby loss and the power of queer love – perfect for fans of Julia Armfield, Sophie Mackintosh and Daisy Johnson Moving to the countryside is supposed to fix Clare and Phoebe’s relationship. A fresh start, a change of scenery, a chance to heal after the miscarriage of their baby girl. Instead, Phoebe feels suffocated. Back in the rural community she ran from at seventeen and unable to face the partner she cannot help, she throws herself into work on the family farm. Clare is a stranger in the village, uninitiated and out of place. She spends her days drifting around the cottage, its walls groaning and shifting as she withdraws into a world inside her head. One day, wandering through the forest nearby, Clare finds a leveret – her own little Isla. A surrogate to lick and love. A way to feel whole again. But as Isla grows into an adult hare she becomes wild and unruly – a kicking, biting, scratching creature. With Clare’s grasp on reality growing ever more tenuous, Phoebe begins to question whether Isla is the cure for grief Clare is searching for as she desperately clings on to the woman she loves . . . With this bruisingly tender love story, debut author Anna Goldreich has conjured a hazy dream of a novel about the fantasies we create as a refuge from grief. The Leveret is a heartbreakingly gorgeous and lyrically haunting hymn to queer love and the power to rebuild from the wreckage of a relationship.

In this debut novel, a new mother—a scholar steeped in fairy lore—wrestles with the legacies and madness of motherhood.There is a changeling in this story—but who is it?Madeleine is young for motherhood, a promising grad student in Victorian and modernist literature, twenty-three and not long married. Even her mother worries about the timing. But Madeleine’s ambivalence is pushed aside by Tom’s elation and her own desire to bring new life into a world marked by loss.Then comes Maud, perfect and fresh, despite a traumatic labor. But just a few nights into their life, something seems amiss. Maud is changed. The child never stops crying. Her hunger is insatiable. Her eyes glint with some kind of ancient mischief. Could Maud be a fairy child, swapped when Madeleine wasn’t paying attention? Is the real Maud dancing in the half-light, with the fairies and the foxes? Did the gray cat hide her behind the hedge?Tom goes about the day-to-day, working toward a promotion and urging Madeleine to connect with other moms. Her parents come to clean out her grandmother’s house, her father newly obsessed with genealogy and DNA tests. Madeleine, interrupted by violent visions, panicked at her lack of maternal love, shut out from her old life, frantically searches for answers. The old stories end in sorrow and bloodshed, and the fairies don’t just kidnap babies—they’re also partial to young women. Is Maud the changeling, or is Madeleine? And if she’s been swapped, how will she find her way back?Emily McBride’s Queen Mab is a riveting portrait of madness, motherhood, the myths that haunt us, and the families who keep us tethered.