In this lush and terrifying debut—perfect for readers of The Hunger Games and Children of Blood and Bone—Camila Victoire creates a future where cruelty and spectacle hold the keys to subjugating humans on a ravaged earth. At the end of the twenty-first century, climate change and famine almost ended humanity—until the discovery of the Klujns, a barbaric, humanoid species with strangely colored eyes and even stranger abilities. Their crystal claws and bones fertilize barren soil, and their tender meat is a super-protein. Klujns are both humans’ saviors and natural-born enemies, meant to be hunted and used. When sixteen-year-old Ava finds herself on the wrong side of a military fence erected to protect the North American Territory, she’s captured by Klujns and made to participate in the Blood Race, a macabre tradition where young human hostages compete to the death for Klujn amusement. At first, she is terrified, but as Ava observes Klujn behavior that contradicts what she’s learned, she begins to wonder: Are Klujns as different as she was led to believe? And, as she fights for her life, does it matter? Inspired by four years on the road with a traveling circus, where the word itself embodies an entire culture built on dark spectacle, Camila Victoire delivers a twisted coming-of-age tale that combines elements of fantasy, magical realism, and suspense. Blood Circus will capture fans of Suzanne Collins’s The Hunger Games and Tomi Adeyemi’s Children of Blood and Bone. Its masterful worldbuilding, plot twists, and boundary-pushing Blood Race are wholly immersive—and compel readers to call their own long-held assumptions, values, and belief systems into question.

" Trop longtemps on a mis sur mes épaules un costume qui n'était pas le mien. Celui d'un étranger, celui d'un coupable. Et à aucun moment nul n'a pensé que loin d'être innocent, j'étais bien pire que ça... "

"In a dark and oppressive future, a slave race of pig-men work tirelessly for their cruel human masters--but their true place in this dystopian society is one that they dare not even imagine. But when Oink realizes that the dogma being forced upon his people is covering a repulsive reality, he embarks upon a brutal path of revenge and revelation"--P. [4] cover.

Best-selling urban fantasy author M.D. Massey welcomes readers back to the world of the Junkyard Druid in a brand-new short story collection! This 38,000 word volume features characters from the Colin McCool series, starring in three separate novelette-length stories: Carnival of Blood When Colin investigates the disappearance of a young teen at a carnival infested with creepy clowns, he discovers that not all clowns are friendly

Monsters now whisper his name in fear. None live after crossing him. But being the most kickass occult bounty hunter anywhere has a nightmare downside even he's not ready for. . . Anticipating the worst keeps Deacon Chalk a step ahead. But he never expected that a badly-beaten were-bat female victim would suddenly mutate and almost take him out. Or that the freak undead that infected her can't wait to turn all lycanthropes into uncontrollable killing machines. . .once he's gone. And that day is getting awfully close. Deacon may be outnumbered, out-gunned, and cut off from help, but what the enemy doesn't know is that's exactly when the world's best bounty hunter lives up to his billing. . . Praise for the Deacon Chalk Occult Bounty Hunter series "This is urban fantasy as men's fiction—Sookie Stackhouse meets the Dresden Files by way of Maxim." —Publishers Weekly on Blood and Silver If Dirty Harry and Anita Blake had a love child, he would be Deacon Chalk." —Jenna Maclaine on Blood and Bullets 17,000 Words.

Christian Gauss Award Shortlist Winner of the ASAP Book Prize A Literary Hub Book of the Year “Makes the case that the gimmick...is of tremendous critical value...Lies somewhere between critical theory and Sontag’s best work.” —Los Angeles Review of Books “Ngai exposes capitalism’s tricks in her mind-blowing study of the time- and labor-saving devices we call gimmicks.” —New Statesman “One of the most creative humanities scholars working today...My god, it’s so good.” —Literary Hub “Ngai is a keen analyst of overlooked or denigrated categories in art and life...Highly original.” —4Columns “It is undeniable that part of what makes Ngai’s analyses of aesthetic categories so appealing...is simply her capacity to speak about them brilliantly.” —Bookforum “A page turner.” —American Literary History Deeply objectionable and yet strangely attractive, the gimmick comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and working too hard (a strained effort to get our attention). When we call something a gimmick, we register misgivings that suggest broader anxieties about value, money, and time, making the gimmick a hallmark of capitalism. With wit and critical precision, Ngai explores the extravagantly impoverished gimmick across a range of examples: the fiction of Thomas Mann, Helen DeWitt, and Henry James; the video art of Stan Douglas; the theoretical writings of Stanley Cavell and Theodor Adorno. Despite its status as cheap and compromised, the gimmick emerges as a surprisingly powerful tool in this formidable contribution to aesthetic theory.

In the unseasonable heat of a spring morning in 80 B.C., Gordianus the Finder is summoned to the house of Cicero, a young advocate staking his reputation on a case involving the savage murder of the wealthy, sybaritic Sextus Roscius. Charged with the murder is Sextus's son, greed being the apparent motive. The punishment, rooted deep in Roman tradition, is horrific beyond imagining. The case becomes a political nightmare when Gordianus's investigation takes him through the city's raucous, pungent streets and deep into rural Umbria. Now, one man's fate may threaten the very leaders of Rome itself.