The Trojan War rages at the foot of Olympos Mons on Mars -- observed and influenced from on high by Zeus and his immortal family -- and twenty-first-century professor Thomas Hockenberry is there to play a role in the insidious private wars of vengeful gods and goddesses. On Earth, a small band of the few remaining humans pursues a lost past and devastating truth -- as four sentient machines depart from Jovian space to investigate, perhaps terminate, the potentially catastrophic emissions emanating from a mountaintop miles above the terraformed surface of the Red Planet.

Beneath the gaze of the gods, the mighty armies of Greece and Troy met in fierce and glorious combat, scrupulously following the text set forth in Homer's timeless narrative. But that was before twenty-first-century scholar Thomas Hockenberry stirred the bloody brew, causing an enraged Achilles to join forces with his archenemy Hector and turn his murderous wrath on Zeus and the entire pantheon of divine manipulators; before the swift and terrible mechanical creatures that catered for centuries to the pitiful idle remnants of Earth's human race began massing in the millions, to exterminate rather than serve. And now all bets are off.

No power on Earth can resist the might of Imperial Rome, so it has been and so it ever shall be. Through brute force, terror, and sheer indomitable will, her armies have enslaved a world. From the reign of Maximilianus the Great in A.U.C. 1203 onward through the ages -- into a new era of scientific advancement and astounding technologies -- countless upstarts and enemies arise, only to be ground into the dust beneath the merciless Roman bootheels. But one people who suffer and endure throughout the many centuries of oppressive rule dream of the glorious day that is coming -- when the heavens themselves will be opened to them…and the ships they are preparing in secret will carry them on their "Great Exodus" to the stars.

Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.

This book provides in-depth coverage of all aspects of pelvic ring fractures and their management. The opening chapters supply essential information on surgical anatomy, biomechanics, classification, clinical evaluation, radiological diagnostics, and emergency and acute management. The various operative techniques, including navigation techniques, that have been established and standardized over the past two decades are then presented in a step-by-step approach. Readers will find guidance on surgical indications, choice of approaches, reduction and fixation strategies, complication management, and optimization of long-term results. Specific treatment concepts are described for age-specific fractures, including pediatric and geriatric injuries, and secondary reconstructions. Pelvic ring fractures represent challenging injuries, especially when they present with concomitant hemodynamic instability. This book will help trauma and orthopaedic surgeons at all levels of experience to achieve the primary treatment aim of anatomic restoration of the bony pelvis to preserve biomechanical stability and avoid malunion with resulting clinical impairments.

Set in the dark world of international espionage, from London to Mallorca, Croatia, Paris, and Cap Ferret: the gripping and suspenseful story of a young woman who unwittingly becomes a perfect asset in the long overdue finale of a covert special op The young English narrator of Lea Carpenter’s dazzling new novel has grown up unhappily in London, dreaming of escape, pretending to be someone else and obsessed with a locked private garden. On the eve of her twenty-first birthday, at a party near that garden, she meets its charismatic and mysterious new owner, Marcus, thirty-three years older, who sweeps her off her feet. Before long they are married at his finca in Mallorca, and at last she has escaped into a new role – but at what price? On their honeymoon in Croatia, Marcus reveals there is something she can do for him—a plan is in place and she can help with “a favor.” This turns out to be posing as an art advisor to a family on Cap Ferret, where Marcus asks her to simply “listen.” A helicopter deposits her at a remote, highly guarded and lavishly appointed compound on a spit of land in the Atlantic. It’s presided over by an enigmatic, charming patriarch Edouard, along with his wife Dasha, children Nikki and Felix, and populated by a revolving cast of other guests—some suspicious, some intriguing, perhaps none, like her, what they seem. Brilliantly compelling, this is a spellbinding and unexpectedly poignant story of a long- planned, high-stakes CIA-Mossad operation that only needed the right asset to complete.

""Blue in Green"is a book that is equal parts subtle intelligence and generosity of heart. In it, Chiyuma Elliott creates a unique voice that returns again and again to the question of what we expect from one another, and how that question is transformed instead into a question of what we owe each other. This notion of reversal plays out in the construction of the poems where, unlike so many of her contemporaries who come to poetry through prose techniques, Elliott's voice emerges through a complex shifting of phrase and syntax between lines or in mid-phrase. We don't, for example, get a straight-forward story of what caused the trauma of, say, cancer or abuse; rather, we hear impressions, half-formed ideas that rise and fall in the speaker's voice as it moves through the nature of the trauma, and experience the effects of the disorder that is the center of our everyday relationships through speech. Put another way: when a crisis overshadows the ordinary, disrupting the collective labor that we pursue together in love, friendship, and work, the hardship itself, in a kind of role-reversal, becomes a collaborator, necessitating new conceptions of relationships and proposing new modes of engagement, different rules of exchange. The book's forms also reflect this transformed idea of reciprocity: ekphrastic poems, normally reserved for visual artworks, instead describe modern jazz songs (including the title poem); letters and letter fragments are written to no one in particular, to the planet, to the universe; and highly allusive free verse poems defy convention with troubled, wildly variable line lengths. The phrase "When I was a wave" recurs throughout the book in unpredictable places, sometimes as a title, sometimes in the middle of a poem, each time telling a different story about expectation, intimacy, and the risk inherent in any relationship. "Blue in Green" is a graceful, tough-minded, beautifully crafted collection, full of wit and elegance"--