also appears in the collection The Father of Lies If you visit the Temple and ask nicely for forgiveness, you might get it — assuming you aren’t Lord Archias and you haven’t killed the Goddess’s favorite musician, Lysippus. But even goddesses are expected to follow certain rules, and as much as she wants to punish Lord Archias it seems her troublesome, all-powerful father forbids it. So the Goddess will just have to get around that by forgiving Lord Archias if he can manage some simple — or, rather, seemingly impossible — tasks. A Goddess has to do what a goddess has to do. And in World Fantasy Award winner K.J. Parker’s sharply inventive new novella Downfall of the Gods that means everything from soothing supernatural egos to accompanying the argumentative Lord Archias on an epic quest to save his soul... and get her own way. As the Goddess and her mortal charge make their way across the world to the Land of the Dead, a host of divine surprises await them. Could what they find at the end be the downfall of the gods themselves? Only time will tell. This is a story Parker fans won’t want to miss. Cover illustration by Vincent Chong

Perimadeia: the famed Triple City and the mercantile capital of the known world. Behind its allegedly impregnable walls, everything is available. Including information which will allow its enemies to plan one of the most remarkable sieges of all time. The man called upon to defend Perimadeia is Bardas Loredan, a fencer-at-law, weary of his work and of the world. For Loredan is one of the surviving members of Maxen's Pitchfork, the legendary band of soldiers who waged war on the people of the plains for many years, rendering an attack on the city impossible. Until now...But Loredan has problems of its own. In a city where court cases are settled by lawyers disputing with swords not words, enemies are all too easily made. And by winning one particular case, Loredan has unwittingly become the focus of a misplaced curse from a young woman bent on revenge. The last thing he needs is to be made responsible for saving a city.

This is the story of Orhan, son of Siyyah Doctus Felix Praeclarissimus, and his history of the Great Siege, written down so that the deeds and sufferings of great men may never be forgotten. A siege is approaching, and the city has little time to prepare. The people have no food and no weapons, and the enemy has sworn to slaughter them all. To save the city will take a miracle, but what it has is Orhan. A colonel of engineers, Orhan has far more experience with bridge-building than battles, is a cheat and a liar, and has a serious problem with authority. He is, in other words, perfect for the job.

A sweeping historical novel in the vein of Hilary Mantel and Maggie O’Farrell set during the time of the Tudors’ ascent. The Pretender tells the story of Lambert Simnel, who was raised in obscurity as a peasant boy to protect his safety, believed to be the heir to the throne occupied by Richard III, and briefly crowned, at the age of ten, as King Edward the Sixth, one of the last of the Plantagenets. In 1480 John Collan’s greatest anxiety is how to circumvent the village’s devil goat on the way to collect water. But the arrival of a well-dressed stranger from London upends his life forever: John is not John Collan, not the son of Will Collan, but the son of the long-deceased Duke of Clarence, hidden in the countryside after a brotherly rift over the crown, and because Richard III has a habit of disappearing his nephews. Removed from his humble origins, sent to Oxford to be educated in a manner befitting the throne’s rightful heir, John is put into play by his masters, learning the rules of etiquette in Burgundy and the machinations of the court in Ireland, where he encounters the intractable Joan, the delightfully strong-willed and manipulative daughter of his Irish patrons, a girl imbued with both extraordinary political savvy and occasional murderous tendencies. Joan has two paths available her—marry, or become a nun. Lambert’s choices are similarly stark: he will either become King, or die in battle. Together they form an alliance that will change the fate of the English monarchy. Inspired by a footnote to history—the true story of the little known Simnel, who was a figurehead of the 1487 Yorkist rebellion and ended up working as a spy in the court of King Henry VII— The Pretender is historical fiction at its finest, a gripping, exuberant, rollicking portrait of British monarchy and life within the court, with a cast of unforgettable heroes and villains drawn from 15th century England. A masterful new work from a major new author.

Has a repressive morality been the primary contribution of Christianity to the history of sexuality? The ascetic concerns that pervade ancient Christian texts would seem to support such a common assumption. Focusing on hagiographical literature, Virginia Burrus pursues a fresh path of interpretation, arguing that the early accounts of the lives of saints are not antierotic but rather convey a sublimely transgressive "countereroticism" that resists the marital, procreative ethic of sexuality found in other strands of Christian tradition. Without reducing the erotics of ancient hagiography to a single formula, The Sex Lives of Saints frames the broad historical, theological, and theoretical issues at stake in such a revisionist interpretation of ascetic eroticism, with particular reference to the work of Michel Foucault and Georges Bataille, David Halperin and Geoffrey Harpham, Leo Bersani and Jean Baudrillard. Burrus subsequently proceeds through close, performative readings of the earliest Lives of Saints, mostly dating to the late fourth and early fifth centuries—Jerome's Lives of Paul, Malchus, Hilarion, and Paula; Gregory of Nyssa's Life of Macrina; Augustine's portrait of Monica; Sulpicius Severus's Life of Martin; and the slightly later Lives of so-called harlot saints. Queer, s/m, and postcolonial theories are among the contemporary discourses that prove intriguingly resonant with an ancient art of "saintly" loving that remains, in Burrus's reading, promisingly mobile, diverse, and open-ended.

A compelling, at times horrifying work that is impossible to put down, House Rules will stand beside Running with Scissors and The Glass Castle as a memoir that cracks open the shell of a desperately dysfunctional family with impressive grace and humour. Rachel Sontag grew up the daughter of a well-liked doctor in an upper middle class suburb of Chicago. The view from outside couldn't have been more perfect. But within the walls of the family home, Rachel's life was controlled and indeed terrorized by her father's serious depression. In prose that is both precise and rich, Rachel's childhood experience unfolds in a chronological recounting that shows how her father became more and more disturbed as Rachel grew up. A visceral and wrenching exploration of the impact of a damaged psyche on those nearest to him, House Rules will keep you reading even when you most wish you could look away. In the middle of the night, Dad sent Mom to wake me. In my pajamas, I sat across from them in the living room. I was sure Grandma had died and I remember deciding to stay strong when Dad told me. "What did you say to her?" he asked. His elbows rested in his lap. "What do you mean?" "You spent a good half hour alone in that hospital room. What did you talk about?" "I don't know, Dad." "What do you mean, you don't know? You know. You know exactly what you talked to her about." "You talked about me, Rachel." "No. I didn't." "To my own mother?" . . . . I wondered how he'd been with Mom, how she'd missed the signs. He couldn't have just turned crazy all of a sudden. I wondered if his own father had infected him with anger. But mostly, I wanted to know what he saw in me that caused him to break up inside. Was it in my being born or in my growing up?

Rich and powerful, the Geary dynasty has reigned over American society for decades. But it is a family with dark, terrible secrets. For the Gearys are a family at war. Their adversaries are the Barbarossas, a clan whose timeless origins lie in myth, whose mystical influence is felt in intense, sensual exchanges of flesh and soul. Now their battle is about to escalate. When Galilee, prodigal prince of the Barbarossa clan, meets Rachel, the young bride of the Gearys' own scion Mitchell, they fall in love, consumed by a passion that unleashes long-simmering hatred. Old insanities arise, old adulteries are uncovered, and a seemingly invincible family will begin to wither, exposing its unholy roots...

In Coldheart Canyon acclaimed horror writer Clive Barker takes us to the dirty secret of ageless sexual power and half-understood contracts with evil that lies at the heart of Hollywood. In the 1920s, magnate Zeffer buys his mistress Katya a room decorated with Boschian mosaics of sex and violence and in the 1990s, Todd Pickett decides he needs a face-lift to save his career; both do not know that they have made a decision which risks their lives and their souls. And somehow, sooner or later, everyone from Tammy, the overweight, obsessive, good president of Todd's fan club, to Micky, a dying former child star with a life full of secrets, ends up in the rich cloying jungle that the gardens of Coldheart Canyon have become, finding out things they never wanted to know about sex, madness, courage and generosity. Barker has always been brilliant at showing us just how bad things can get--the games of sexual power, the corrupting metamorphoses; here he adds something: a genuine conviction of the possibility of human goodness and kindness that saves people. --Roz Kaveney

BRINGS TOGETHER ALL SIX BOOKS OF BLOOD "Everybody is a book of blood; wherever we're opened, we're red." For those who only know Clive Barker through his long multigenre novels, this complete edition of the Books of Blood is a welcome chance to acquire all six volumes and 30 remarkable horror short stories written by the British author Clive Barker. For those who already know these tales, the poignant introduction is a window on the creator's mind. Reflecting back after 14 years, Barker writes: I look at these pieces and I don't think the man who wrote them is alive in me anymore.... We are all our own graveyards I believe; we squat amongst the tombs of the people we were. If we're healthy, every day is a celebration, a Day of the Dead, in which we give thanks for the lives that we lived; and if we are neurotic we brood and mourn and wish that the past was still present. Reading these stories over, I feel a little of both. Some of the simple energies that made these words flow through my pen--that made the phrases felicitous and the ideas sing--have gone. I lost their maker a long time ago. These enthusiastic tales are not ashamed of visceral horror, of blood splashing freely across the page: "The Midnight Meat Train," a grisly subway tale that surprises you with one twist after another; "The Yattering and Jack," about a hilarious demon who possesses a Christmas turkey; "In the Hills, the Cities," an unusual example of an original horror premise; "Dread," a harrowing non-supernatural tale about being forced to realize your worst nightmare; "Jacqueline Ess: Her Will and Testament," about a woman who kills men with her mind. Some of the tales are more successful than others, but all are distinguished by strikingly beautiful images of evil and destruction. No horror library is complete without them. --Fiona Webster

Blackshirts & Reds explores some of the big issues of our time: fascism, capitalism, communism, revolution, democracy, and ecology—terms often bandied about but seldom explored in the original and exciting way that has become Michael Parenti’s trademark. Parenti shows how “rational fascism” renders service to capitalism, how corporate power undermines democracy, and how revolutions are a mass empowerment against the forces of exploitative privilege. He also maps out the external and internal forces that destroyed communism, and the disastrous impact of the “free-market” victory on eastern Europe and the former Soviet Union. He affirms the relevance of taboo ideologies like Marxism, demonstrating the importance of class analysis in understanding political realities and dealing with the ongoing collision between ecology and global corporatism. Written with lucid and compelling style, this book goes beyond truncated modes of thought, inviting us to entertain iconoclastic views, and to ask why things are as they are. It is a bold and entertaining exploration of the epic struggles of yesterday and today. "A penetrating and persuasive writer with an astonishing array of documentation to implement his attacks."—The Catholic Journalist "Blackshirts & Reds discusses the great combat between fascism and socialism that is the defining feature of the Twentieth Century, and takes every official version to task for its substitution of moral analysis for critical analysis, for its selectivity, and for its errata. By portraying the struggle between fascism and Communism in this century as a single conflict, and not a series of discrete encounters, between the insatiable need for new capital on the one hand and the survival of a system under siege on the other, Parenti defines fascism as the weapon of capitalism, not simply an extreme form of it. Fascism is not an aberration, he points out, but a "rational" and integral component of the system."—Stan Goff, The Prism Michael Parenti, PhD Yale, is an internationally known author and lecturer. He is one of the nation's leading progressive political analysts. He is the author of over 275 published articles and twenty books. His writings are published in popular periodicals, scholarly journals, and his op-ed pieces have been in leading newspapers such as The New York Times and The Los Angeles Times. His informative and entertaining books and talks have reached a wide range of audiences in North America and abroad.

The first history of the United States told from the perspective of indigenous peoples Today in the United States, there are more than five hundred federally recognized Indigenous nations comprising nearly three million people, descendants of the fifteen million Native people who once inhabited this land. The centuries-long genocidal program of the US settler-colonial regimen has largely been omitted from history. Now, for the first time, acclaimed historian and activist Roxanne Dunbar-Ortiz offers a history of the United States told from the perspective of Indigenous peoples and reveals how Native Americans, for centuries, actively resisted expansion of the US empire. With growing support for movements such as the campaign to abolish Columbus Day and replace it with Indigenous Peoples’ Day and the Dakota Access Pipeline protest led by the Standing Rock Sioux Tribe, An Indigenous Peoples’ History of the United States is an essential resource providing historical threads that are crucial for understanding the present. In An Indigenous Peoples’ History of the United States, Dunbar-Ortiz adroitly challenges the founding myth of the United States and shows how policy against the Indigenous peoples was colonialist and designed to seize the territories of the original inhabitants, displacing or eliminating them. And as Dunbar-Ortiz reveals, this policy was praised in popular culture, through writers like James Fenimore Cooper and Walt Whitman, and in the highest offices of government and the military. Shockingly, as the genocidal policy reached its zenith under President Andrew Jackson, its ruthlessness was best articulated by US Army general Thomas S. Jesup, who, in 1836, wrote of the Seminoles: “The country can be rid of them only by exterminating them.” Spanning more than four hundred years, this classic bottom-up peoples’ history radically reframes US history and explodes the silences that have haunted our national narrative. An Indigenous Peoples' History of the United States is a 2015 PEN Oakland-Josephine Miles Award for Excellence in Literature.

While America held its breath in the days immediately following 9/11, a small but determined group of CIA agents covertly began to change history. This is the riveting first-person account of the treacherous top-secret mission inside Afghanistan to set the stage for the defeat of the Taliban and launch the war on terror. As thrilling as any novel, First In is a uniquely intimate look at a mission that began the U.S. retaliation against terrorism–and reclaimed the country of Afghanistan for its people.

The rise and rise of the Bin Laden family is one of the great stories of the twentieth century; its repercussions have already deeply marked the twenty-first. Until now, however, it is a story that has never been fully told, as the Bin Ladens have successfully fended off attempts to understand the family circles from which Osama sprang. In this the family has been abetted by the kingdom it calls home, Saudi Arabia, one of the most closed societies on earth.Steve Coll’s The Bin Ladens: An Arabian Family in the American Century is the groundbreaking history of a family and its fortune. It chronicles a young illiterate Yemeni bricklayer, Mohamed Bin Laden, who went to the new, oil-rich country of Saudi Arabia and quickly became a vital figure in its development, building great mosques and highways and making himself and many of his children millionaires. It is also a story of the Saudi royal family, whom the Bin Ladens served loyally and without whose capricious favor they would have been nothing. And it is a story of tensions and contradictions in a country founded on extreme religious purity, which then became awash in oil money and dazzled by the temptations of the West. In only two generations the Bin Ladens moved from a famine-stricken desert canyon to luxury jets, yachts, and private compounds around the world, even going into business with Hollywood celebrities. These religious and cultural gyrations resulted in everything from enthusiasm for America—exemplified by Osama’s free-living pilot brother Salem—to an overwhelming determination to destroy it. The Bin Ladens is a meticulously researched, colorful, shocking, entertaining, and disturbing narrative of global integration and its limitations. It encapsulates the unsettling contradictions of globalization in the story of a single family who has used money, mobility, and technology to dramatically varied ends.

From the rubble-strewn streets of U.S.-occupied Baghdad, Hadi--a scavenger and an oddball fixture at a local café--collects human body parts and stitches them together to create a corpse. His goal, he claims, is for the government to recognize the parts as people and to give them proper burial. But when the corpse goes missing, a wave of eerie murders sweeps the city, and reports stream in of a horrendous-looking criminal who, though shot, cannot be killed. Hadi soon realizes he's created a monster, one that needs human flesh to survive--first from the guilty, and then from anyone in its path. A prizewinning novel by "Baghdad's new literary star" (The New York Times), Frankenstein in Baghdad captures with white-knuckle horror and black humor the surreal reality of contemporary Iraq.

Set in the vast windswept Central Asian steppes and the infinite reaches of galactic space, this powerful novel offers a vivid view of the culture and values of the Soviet Union's Central Asian peoples.

The stories brought together in this collection introduce for the first time in English the dazzling speculative imaginings of Djuna, one of South Korea’s most provocative SF writers. Whether describing a future society light years away or satirizing Confucian patriarchy, these stories evoke a universe at once familiar and clearly fantastical. Also collected here for the first time are all six stories set in the Linker Universe, where a mutating virus sends human beings reeling through the galaxy into a dizzying array of fracturing realities. Blending influences ranging from genre fiction (zombie, vampire, SF, you name it) to golden-age cinema to Conrad’s Heart of Darkness, Djuna’s stories together form a brilliantly intertextual, mordantly funny critique of the human condition as it evolves into less and more than what it once was. Film critic and speculative fiction writer Djuna, who first appeared as an online presence in the early 1990s, has steadfastly refused to confirm any personal details regarding age, gender or legal name, or even whether they are one person or multiple. Djuna is widely considered one of the most prolific and important writers in South Korean science fiction. They have published nine short story collections, three novels, and numerous essays and uncollected stories.