In his acclaimed Codex Alera novels, #1 New York Times bestselling author Jim Butcher has created a fascinating world in which the powerful forces of nature take physical form. But even magic cannot sway the corruption that threatens to destroy the realm of Alera once and for all... When the power-hungry High Lord of Kalare launches a merciless rebellion against the First Lord, young Tavi of Calderon joins a newly formed legion under an assumed name. And when the ruthless Kalare allies himself with a savage enemy of the realm, Tavi finds himself leading an inexperienced, poorly equipped legion—the only force standing between Alera and certain doom...

"It was all going so nicely, right up until the massacre." Twenty years ago, feared general Cobalt Zosia led her five villainous captains and mercenary army into battle, wrestling monsters and toppling an empire. When there were no more titles to win and no more worlds to conquer, she retired and gave up her legend to history. Now the peace she carved for herself has been shattered by the unprovoked slaughter of her village. Seeking bloody vengeance, Zosia heads for battle once more, but to find justice she must confront grudge-bearing enemies, once-loyal allies, and an unknown army that marches under a familiar banner. Five villans. One Legendary General. A final quest for vengence.

Emerging from the New Wave music scene of the late ‘70s, The Cars catapulted to success with the very first single—“Just What I Needed”—off of their debut album. Led by Ric Ocasek, the lead vocalist (along with Benjamin Orr), rhythm guitarist, and songwriter, The Cars became one of the most successful bands of the ‘80s—and their songs are just as beloved by fans today. Ocasek himself has had an illustrious career beyond The Cars, from writing and performing solo work, publishing poetry in Granta and elsewhere, and producing albums by musical artists like Weezer, Hole, Guided By Voices, and Jonathan Richman. In Lyrics & Prose, Ocasek collects his lyrics together for the first time—and included throughout are Ocasek’s early handwritten notes and set lists, doodles and all. His work spans from The Cars’ self titled debut album in 1978 to Move Like This, released in 2011, as well as Ocasek’s six solo albums. This is not merely a songbook for fans of The Cars, however: Ocasek is a versatile and affecting poet as well as songwriter, and his original verses—interspersed with album artwork and more than twenty-five beautiful black and white photographs—round out this beguiling book.

This concise and highly accessible textbook outlines the principles and techniques of storytelling. It is intended as a high-school and college-level introduction to the central concepts of narrative theory – concepts that will aid students in developing their competence not only in analysing and interpreting short stories and novels, but also in writing them. This textbook prioritises clarity over intricacy of theory, equipping its readers with the necessary tools to embark on further study of literature, literary theory and creative writing. Building on a ‘semiotic model of narrative,’ it is structured around the key elements of narratological theory, with chapters on plot, setting, characterisation, and narration, as well as on language and theme – elements which are underrepresented in existing textbooks on narrative theory. The chapter on language constitutes essential reading for those students unfamiliar with rhetoric, while the chapter on theme draws together significant perspectives from contemporary critical theory (including feminism and postcolonialism). This textbook is engaging and easily navigable, with key concepts highlighted and clearly explained, both in the text and in a full glossary located at the end of the book. Throughout the textbook the reader is aided by diagrams, images, quotes from prominent theorists, and instructive examples from classical and popular short stories and novels (such as Jane Austen’s Pride and Prejudice, Franz Kafka’s ‘The Metamorphosis,’ J. K. Rowling’s Harry Potter, or Dostoyevsky’s The Brothers Karamazov, amongst many others). Prose Fiction: An Introduction to the Semiotics of Narrative can either be incorporated as the main textbook into a wider syllabus on narrative theory and creative writing, or it can be used as a supplementary reference book for readers interested in narrative fiction. The textbook is a must-read for beginning students of narratology, especially those with no or limited prior experience in this area. It is of especial relevance to English and Humanities major students in Asia, for whom it was conceived and written.

Chinese prose poetry today is engaged with a series of questions that are fundamental to the modern Chinese language: What is prose? What is it good for? How should it look and sound? Millions of Chinese readers encounter prose poetry every year, both in the most official of state-sponsored magazines and in the unorthodox, experimental work of the avant-garde. Recite and Refuse makes the answers to our questions about prose legible by translating, surveying, and interpreting prose poems, and by studying the people, politics, and contexts that surround the writing of prose poetry. Author Nick Admussen argues that unlike most genres, Chinese prose poems lack a distinct size or shape. Their similarity to other prose is the result of a distinct process in which a prose form is recited with some kind of meaningful difference—an imitation that refuses to fully resemble its source. This makes prose poetry a protean, ever-changing group of works, channeling the language of science, journalism, Communist Party politics, advertisements, and much more. The poems look vastly different as products, but are made with a similar process. Focusing on the composition process allows Admussen to rewrite the standard history of prose poetry, finding its origins not in 1918 but in the obedient socialist prose poetry of the 1950s. Recite and Refuse places the work of state-sponsored writers in mutual relationship to prose poems by unorthodox and avant-garde poets, from cadre writers like Ke Lan and Guo Feng to the border-crossing intellectual and poet Liu Zaifu to experimental artists such as Ouyang Jianghe and Xi Chuan. The volume features never-before seen English translations that range from the representative to the exceptional, culminating with Ouyang Jianghe’s masterpiece “Hanging Coffin.” Reading across the spectrum enables us to see the way that artists interact with each other, how they compete and cooperate, and how their interactions, as well as their creations, continuously reinvent both poetry and prose.

When Olivia Limoges and other Oyster Bay patrons of the arts sponsor a retreat for famous storytellers, one of them is going to have a very unhappy ending… Olivia thought gathering some of the most renowned storytellers in one place would be a nice, simple way for herself and the Bayside Book Writers to appreciate their talents. But things take a dark turn when the most famous storyteller in the nation—the captivating performer Violetta Devereaux—announces onstage that she will meet her end in Oyster Bay. When Violetta is discovered murdered after the show, everyone involved with the retreat becomes a suspect. There are rumors that Violetta, who grew up in extreme poverty in the Appalachian Mountains, possessed an invaluable treasure. Now Chief Rawlings and the Bayside Book Writers must work at a frenzied pace to solve the crime before someone closes the book on them.

The Pulitzer Prize and National Book Award-winning author of House and the editor of Atlantic Monthly share stories from their literary friendship and respective careers, offering insight into writing principles and mechanics that they have identified as elementary to quality prose.

John Updike’s first collection of nonfiction pieces, published in 1965 when the author was thirty-three, is a diverting and illuminating gambol through midcentury America and the writer’s youth. It opens with a choice selection of parodies, casuals, and “Talk of the Town” reports, the fruits of Updike’s boyish ambition to follow in the footsteps of Thurber and White. These jeux d’esprit are followed by “Hub Fans Bid Kid Adieu,” an immortal account of Ted Williams’s last at-bat in Fenway Park; “The Dogwood Tree,” a Wordsworthian evocation of one Pennsylvania childhood; and five autobiographical essays and stories. Rounding out the volume are classic considerations of Nabokov, Salinger, Spark, Beckett, and others, the earliest efforts of the book reviewer who would go on to become, in The New York Times’s estimation, “the pre-eminent critic of his generation.” Updike called this collection “motley but not unshapely.” Some would call it a classic of its kind.