A Master Chief story and original full-length novel set in the Halo universe—based on the New York Times bestselling video game series! 2526. It has been more than a year since humanity first encountered the hostile military alliance of alien races known as the Covenant, and several weeks after the United Nations Space Command’s devastating counterattack of Operation: SILENT STORM was deemed an overwhelming success. The UNSC has put its faith in the hands of the Spartans, led by the legendary Master Chief, John-117: enhanced super-soldiers raised and trained from childhood via a clandestine black ops project to be living weapons. But the Covenant—enraged and fearful of their enemy’s unexpected strategies and prowess—is not taking its recent defeat lightly, and is now fully determined to eradicate humanity from existence, brutally overrunning the ill-fated planets of the Outer Colonies faster than retreats can be ordered. If the UNSC has any chance of stemming the tide of the war, the Master Chief and Blue Team must drop onto an empty, hellish world in order to capture a disabled Covenant frigate filled with valuable technology. It has all the makings of a trap, but the bait is far too tempting to ignore—and this tantalizing prize is being offered by a disgraced and vengeful Covenant fleetmaster, whose sole opportunity for redemption lies in extinguishing humanity’s only hope of survival…

In the stories that make up Oblivion, David Foster Wallace joins the rawest, most naked humanity with the infinite involutions of self-consciousness -- a combination that is dazzlingly, uniquely his. These are worlds undreamt of by any other mind. Only David Foster Wallace could convey a father's desperate loneliness by way of his son's daydreaming through a teacher's homicidal breakdown (The Soul Is Not a Smithy). Or could explore the deepest and most hilarious aspects of creativity by delineating the office politics surrounding a magazine profile of an artist who produces miniature sculptures in an anatomically inconceivable way (The Suffering Channel). Or capture the ache of love's breakdown in the painfully polite apologies of a man who believes his wife is hallucinating the sound of his snoring (Oblivion). Each of these stories is a complete world, as fully imagined as most entire novels, at once preposterously surreal and painfully immediate.

In this mesmerizing YA fantasy mash-up of The Road meets The Amazing Race, one girl chooses to risk her life in a cutthroat competition in order to win her freedom. In Lanoria, Outsiders, who don’t have magic, are inferior to Enchanteds, who do. That’s just a fact for Astrid, an Outsider who is indentured to pay off her family’s debts. She serves as the surrogate for the princess—if Renya steps out of line, Astrid is the one who bears the punishment for it. But there is a way out: the life-or-death Race of Oblivion. First, racers are dosed with the drug Oblivion, which wipes their memories. Then, when they awake in the middle of nowhere, only cryptic clues—and a sheer will to live—will lead them through treacherous terrain full of opponents who wouldn’t think twice about killing each other to get ahead. But what throws Astrid the most is what she never expected to encounter in this race. A familiar face she can’t place. Secret powers she shouldn’t have. And a confusing memory of the past that, if real, could mean the undoing of the entire social structure that has kept her a slave her entire life. Competing could mean death…but it could also mean freedom.

Forced by her nightmares to return to Varen's desolate dreamworld, Isobel fears that her world and her own sanity will be overtaken by the schemes of ghostly demon Lilith.

After a car accident, a group of teenagers are left stranded on an isolated mountain road during a blizzard. Their search for help leads them to an abandoned prison van, a dead guard, and an escaped inmate named J.G. J.G. claims it was not he but anothe

Now in paperback, a transcendent and wide-ranging collection of stories by László Krasznahorkai: “a visionary writer of extraordinary intensity and vocal range who captures the texture of present-day existence in scenes that are terrifying, strange, appallingly comic, and often shatteringly beautiful.”—Marina Warner, announcing the Booker International Prize In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“here I would leave this earth and these stars, because I would take nothing with me”). As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative…” A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on and on about the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils. “The excitement of his writing,” Adam Thirlwell proclaimed in The New York Review of Books, “is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”

WINNER OF THE INTERNATIONAL DUBLIN LITERARY AWARD 2017 A finalist for the Man Booker International Prize 2016 The brilliant new novel from the winner of the Independent Foreign Fiction Prize. On the eve of Angolan independence, Ludo bricks herself into her apartment, where she will remain for the next thirty years. She lives off vegetables and pigeons, burns her furniture and books to stay alive and keeps herself busy by writing her story on the walls of her home. The outside world slowly seeps into Ludo’s life through snippets on the radio, voices from next door, glimpses of a man fleeing his pursuers and a note attached to a bird’s foot. Until one day she meets Sabalu, a young boy from the street who climbs up to her terrace.

A specter, haunting the edges of society: because neoliberalism insists there are no social classes, thus, there is no working class, the main subject of Hotel Oblivion, a working class subject, does not exist. With no access to a past, she has no home, no history, no memory. And yet, despite all this, she will not assimilate. Instead, this book chronicles the subject's repeated attempts at locating an exit from capitalist society via acts of negative freedom and through engagement with the death drive, whose aim is complete destruction in order to begin all over again. In the end, of course, the only true exit and only possibility for emancipation for the working class subject is through a return to one's self. In Hotel Oblivion, through a series of fragments and interrelated poems, Cruz resists invisibilizing forces, undergoing numerous attempts at transfiguration in a concerted effort to escape her fate.

Kaylin wasn't sent to the West March to start a war. Her mission to bring back nine Barrani might do just that, though. She traveled with a Dragon, and her presence is perceived as an act of aggression in the extremely hostile world of Barrani-Dragon politics. Internal Barrani politics are no less deadly, and Kaylin has managed-barely-to help the rescued Barrani evade both death and captivity at the hands of the Consort. Before the unplanned "visit" to the West March, Kaylin invited the Consort to dinner. For obvious reasons, Kaylin wants to cancel dinner - forever. But the Consort is going to show up at the front door at the agreed-upon time. The fact that she tried to imprison Kaylin's guests doesn't matter at all...to her. A private Barrani Hell, built of Shadow and malice, exists beneath the High Halls. It is the High Court's duty to jail the creature at its heart - even if it means that Barrani victims are locked in the cage with it. The Consort is willing to do almost anything to free the trapped and end their eternal torment. And she needs the help of Kaylin's houseguests - and Kaylin herself. Failure won't be death - it will be Hell. And that's where Kaylin is going.

It's hard enough being a seventeen year old Veil Walker, but when your boyfriend's a demigod and your mom's dating a soul sucker, things can get a lot worse. Pandora has seen ghosts since she was a kid, and now she learns she can bring back the spirits of the dead. Why would she do that? She has enough trouble getting rid of the ones stuck on this side. One annoyingly perky ghost wants Pandora to find her killer, but Ukwa, her super-hot boyfriend, doesn't like the idea. When trouble finds her, will she discover the true strength of a Veil Walker or, like the others, will her soul be trapped in her own Pandora's Jar forever?