In this elegant gothic horror tale set in post-revolutionary Russia, two formerly aristocratic sisters race to uncover their family’s long-buried secrets in a house haunted by a past dangerous—and deadly—to remember. It is the summer of 1921, and a group of Bolsheviks have taken over Irina and Lili Goliteva’s ancestral home in Moscow, a stately mansion falling into disrepair and decay. The remaining members of their family are ordered to move into the cramped attic, while the officials take over an entire wing of grand rooms downstairs. The sisters understand it is the way of things and know they must forget their noble upbringing to make their way in this new Soviet Russia. But the house begins to whisper of a traumatic past not as dead as they thought. Eager to escape it and their unwelcome new landlords, Irina and Lili find jobs with the recently arrived American Relief Administration, meant to ease the post-revolutionary famine in Russia. For the sisters, the ARA provides much-needed food and employment, as well as a chance for sensible Irina to help those less fortunate and artistic Lili to express herself for a good cause. It might just lead them to love, too. But at home, the spirits of their deceased family awaken, desperate to impart what really happened to them during the Revolution. Soon one of the officials living in the house is found dead. Was his death caused by something supernatural, or by someone all too human? And are Irina and Lili and their family next? Only unearthing the frightening secrets of Moscow House will reveal all. But this means the sisters must dig deep into a past no one in Russia except the dead are allowed to remember.

"A delicate weaving of myth and history, The Witch and the Tsar breathes new life into stories you think you know."–Hannah Whitten, New York Times bestselling author of For the Wolf In this stunning debut novel, the maligned and immortal witch of legend known as Baba Yaga will risk all to save her country and her people from Tsar Ivan the Terrible—and the dangerous gods who seek to drive the twisted hearts of men. As a half-goddess possessing magic, Yaga is used to living on her own, her prior entanglements with mortals having led to heartbreak. She mostly keeps to her hut in the woods, where those in need of healing seek her out, even as they spread rumors about her supposed cruelty and wicked spells. But when her old friend Anastasia—now the wife of the tsar, and suffering from a mysterious illness—arrives in her forest desperate for her protection, Yaga realizes the fate of all of Russia is tied to Anastasia’s. Yaga must step out of the shadows to protect the land she loves. As she travels to Moscow, Yaga witnesses a sixteenth century Russia on the brink of chaos. Tsar Ivan—soon to become Ivan the Terrible—grows more volatile and tyrannical by the day, and Yaga believes the tsaritsa is being poisoned by an unknown enemy. But what Yaga cannot know is that Ivan is being manipulated by powers far older and more fearsome than anyone can imagine. Olesya Salnikova Gilmore weaves a rich tapestry of mythology and Russian history, reclaiming and reinventing the infamous Baba Yaga, and bringing to life a vibrant and tumultuous Russia, where old gods and new tyrants vie for power. This fierce and compelling novel draws from the timeless lore to create a heroine for the modern day, fighting to save her country and those she loves from oppression while also finding her true purpose as a goddess, a witch, and a woman.

Domestic Modernism, the Interwar Novel, and E. H. Young provides a valuable analytical model for reading a large body of modernist works by women, who have suffered not only from a lack of critical attention but from the assumption that experimental modernist techniques are the only expression of the modern. In the process of documenting the publication and reception history of E. H. Young's novels, the authors suggest a paradigm for analyzing the situation of women writers during the interwar years. Their discussion of Young in the context of both canonical and noncanonical writers challenges the generic label and literary status of the domestic novel, as well as facile assumptions about popular and middlebrow fiction, canon formation, aesthetic value, and modernity. The authors also make a significant contribution to discussions of the everyday and to the burgeoning field of 'homeculture,' as they show that the fictional embodiment and inscription of home by writers such as Young, Virginia Woolf, Elizabeth Bowen, Ivy Compton-Burnett, Lettice Cooper, E. M. Delafield, Stella Gibbons, Storm Jameson, and E. Arnot Robertson epitomize the long-standing symbiosis between architecture and literature, or more specifically, between the house and the novel.

The German poet and mystic Novalis once identified philosophy as a form of homesickness. More than two centuries later, as modernity’s displacements continue to intensify, we feel Novalis’s homesickness more than ever. Yet nowhere has a longing for home flourished more than in contemporary environmental thinking, and particularly in eco-phenomenology. If only we can reestablish our sense of material enmeshment in nature, so the logic goes, we might reverse the degradation we humans have wrought—and in saving the earth we can once again dwell in the nearness of our own being. Unsettling Nature opens with a meditation on the trouble with such ecological homecoming narratives, which bear a close resemblance to narratives of settler colonial homemaking. Taylor Eggan demonstrates that the Heideggerian strain of eco-phenomenology—along with its well-trod categories of home, dwelling, and world—produces uncanny effects in settler colonial contexts. He reads instances of nature’s defamiliarization not merely as psychological phenomena but also as symptoms of the repressed consciousness of coloniality. The book at once critiques Heidegger’s phenomenology and brings it forward through chapters on Willa Cather, D. H. Lawrence, Olive Schreiner, Doris Lessing, and J. M. Coetzee. Suggesting that alienation may in fact be "natural" to the human condition and hence something worth embracing instead of repressing, Unsettling Nature concludes with a speculative proposal to transform eco-phenomenology into "exo-phenomenology"—an experiential mode that engages deeply with the alterity of others and with the self as its own Other.

In the tradition of Paranormal Activity and The Blair Witch Project, an American teen recounts the strange events that occur after she moves into a new—and very haunted—home with her family in this chilling diary that features photos and images of what she experienced. Letters, photographs, and a journal…all left behind in the harrowing aftermath. Following her parents’ high-profile divorce, Paige and her brother are forced to move to Idaho with their mother, and Paige doesn’t have very high hopes for her new life. The small town they’ve moved to is nothing compared to the life she left behind in LA. And the situation is made even worse by the drafty old mansion they’ve rented that’s filled with spiders and plenty of other pests that Paige can’t even bear to imagine. Pretty soon, strange things start to happen around the house—one can of ravioli becomes a dozen, unreadable words start appearing on the walls, and Paige’s little brother begins roaming the house late at night. And there’s something not right about the downstairs neighbor who seems to know a lot more than he’s letting on. Things only get creepier when she learns about the cult that conducted experimental rituals in the house almost one hundred years earlier. The more Paige investigates, the clearer it all becomes: there’s something in the house, and whatever it is…and it won’t be backing down without a fight.

Willa Cather's novels were neglected after her death, but a new generation of readers has greeted her work with enthusiasm. This feminist study, which draws extensively on Cather's unpublished letters, analyses how she overcame the difficulties which beset a woman writer in the mid-West during the early part of the century. It shows how her absorption in European culture influenced her perception of America and enabled her to produce some of the most compelling literature of modern times. Susie Thomas's highly readable account will be welcomed by all those studying Cather's work. Contents: Willa Cather 1873-1947; To Bayreuth and Back Again: R The Troll Garden, The Song of the Lark, One of Ours, Uncle Valentine; From Horse Opera to Homesteads: O Pioneers ; The Golden Girl of the West: My Antonia; Time's Fool and A Lost Lady; To Speak of the Woe That is in Marriage: The Professor's House; The Chemistry of Colour: Death Comes For the Archbishop and Shadows on the Rock; Testimony: Obscure Destinies, Sapphira and the Slave Girl, The Old Beauty and Others

A PopSugar Best Book of the Year! Readers of Heather Morris’s The Tattooist of Auschwitz and watchers of The Queen’s Gambit won’t want to miss this amazing debut set during World War II. A young Polish resistance worker, imprisoned in Auschwitz as a political prisoner, plays chess in exchange for her life, and in doing so fights to bring the man who destroyed her family to justice. Maria Florkowska is many things: daughter, avid chess player, and, as a member of the Polish underground resistance in Nazi-occupied Warsaw, a young woman brave beyond her years. Captured by the Gestapo, she is imprisoned in Auschwitz, but while her family is sent to their deaths, she is spared. Realizing her ability to play chess, the sadistic camp deputy, Karl Fritzsch, decides to use her as a chess opponent to entertain the camp guards. However, once he tires of exploiting her skills, he has every intention of killing her. Befriended by a Catholic priest, Maria attempts to overcome her grief, vows to avenge the murder of her family, and plays for her life. For four grueling years, her strategy is simple: Live. Fight. Survive. By cleverly provoking Fritzsch’s volatile nature in front of his superiors, Maria intends to orchestrate his downfall. Only then will she have a chance to evade the fate awaiting her and see him punished for his wickedness. As she carries out her plan and the war nears its end, she challenges her former nemesis to one final game, certain to end in life or death, in failure or justice. If Maria can bear to face Fritzsch—and her past—one last time.

Vol. 1 includes "The installation of Frank Le Rond McVey ... as president of the University of North Dakota. Programs and proceedings" called Inauguration number, dated Sept. 1910.

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