“A dark, delectable, and utterly unique series that readers will want to drown in.” —Laura Sebastian, New York Times bestselling author of the Ash Princess series The start of a fierce fantasy duology about three maidens who are chosen for their land's greatest honor...and one girl determined to save her sister from the grave. In the walled city-state of Alu, Kammani wants nothing more than to become the accomplished healer her father used to be before her family was cast out of their privileged life in shame. When Alu's ruler falls deathly ill, Kammani’s beautiful little sister, Nanaea, is chosen as one of three sacred maidens to join him in the afterlife. It’s an honor. A tradition. And Nanaea believes it is her chance to live an even grander life than the one that was stolen from her. But Kammani sees the selection for what it really is—a death sentence. Desperate to save her sister, Kammani schemes her way into the palace to heal the ruler. There she discovers more danger lurking in the sand-stone corridors than she could have ever imagined and that her own life—and heart—are at stake. But Kammani will stop at nothing to dig up the palace’s buried secrets even if it means sacrificing everything…including herself. "A dark and utterly enthralling journey to an ancient land, Gravemaidens grabs you by your beating heart and refuses to let go until the bitter, breathtaking end."—Sarah Glenn Marsh, author of the Reign of the Fallen series

In popular mythology, the Overland Trail is typically a triumphant tale, with plucky easterners crossing the Plains in caravans of covered wagons. But not everyone reached Oregon and California. Some 6,600 migrants perished along the way and were buried where they fell, often on Indigenous land. As historian Sarah Keyes illuminates, their graves ultimately became the seeds of U.S. expansion. By the 1850s, cholera epidemics, ordinary diseases, and violence had remade the Trail into an American burial ground that imbued migrant deaths with symbolic power. In subsequent decades, U.S. officials and citizens leveraged Trail graves to claim Native ground. Meanwhile, Indigenous peoples pointed to their own sacred burial grounds to dispute these same claims and maintain their land. These efforts built on anti-removal campaigns of the 1820s and 30s, which had established the link between death and territorial claims on which the significance of the Overland Trail came to rest. In placing death at the center of the history of the Overland Trail, American Burial Ground offers a sweeping and long overdue reinterpretation of this historic touchstone. In this telling, westward migration was a harrowing journey weighed down by the demands of caring for the sick and dying. From a tale of triumph comes one of struggle, defined as much by Indigenous peoples' actions as it was by white expansion. And, finally, from a migration to the Pacific emerges instead one of a trail of graves. Graves that ultimately undergirded Native dispossession.

The text is a conversation between the author and himself mediated by the text of Friedrich Nietzsche’s Thus Spoke Zarathustra. The text is a pre-text, a reading both before and after that frames the art work. What is that? Let us say, in the spirit of inquiry, that of knowing thyself. What, then, of this strange hyphenation? The present text is a pre-text because it is before the Text, the text which the author is always writing but which manifests itself, in sporadic, impulsive bursts, in the form of actual works. The book is the pre-text because it is an excuse, a rationale, a piece of pretension. The book is not about Nietzsche but what it is for someone to read Nietzsche’s text, a book for everyone and no one. How then does one read a book meant for oneself, if oneself is everyone, and not at all for oneself, if oneself is none? Or is it that the real task of reading is for the reader to read what reading is? Then again, need one distinguish between book and text? Perhaps, it is impossible to read a book such as Thus Spoke Zarathustra without invoking the text --or even sub-text – that continually slips away. If one can read a book, one cannot the text for this reason: the text is what the reader has to write through the reading. This has been my experience with Nietzsche’s text, an experience I share with my readers. The very possibility of reading invokes the need to re-write the text. Only in the space between reading and writing can the reader/re-writer hope to stand and understand the discursive grounds. Is that the play which this couplet performs? There, does not the reader enters upon the playground. Read then and play! The author's thanks go to Mr. Andrew Fuyarchuk for the fine editing job that he did. His contribution allowed further clarifications of the argument.

In this thrilling anthology, bestselling mystery writers abandon the cloak of fiction to investigate the suspenseful secrets in their own lives. For many of us, a good, heart-pounding mystery is the perfect escape from real-world confusion and chaos. But what about the writers who create those stories of suspense and intrigue? How do our favorite novelists cope with our perplexing world, and what mysteries keep them up at night? In Private Investigations, twenty fan-favorite mystery writers share first-person tales of mysteries they've encountered at home and in the world. Caroline Leavitt regales us with a medical mystery, recounting a time when she lost her voice and doctors couldn't find a cure, Martin Limón travels back to his military stint in Korea to grapple with the crimes of war, Anne Perry ponders the magical powers of stories conjured from writers' imaginations, and more. Exploring all the tropes of the genre -- from haunted houses and elusive perpetrators to regrouping after missed signals have derailed them -- these writers' true tales show just how much art imitates life, and how, ultimately, we are all private investigators in our own real-world dramas.

Originally published in 1951, the implications of this book were thought to be far wider and deeper than its title suggests. 'Hair-activities are chosen merely as a sample of uncritically accepted human behaviour. The author then proceeds to examine them very carefully in the light of dreams, anthropology, folklore, symptoms and perversions. He shows them to be an expression of instinct-driven tensions and conflicts. The popular illusion that they are determined by reason or adaption to reality is exploded. The corollary is inescapable; if in this innocent particular our thoughts and behaviour are symptomatic expressions of an unconscious conflict or complex, how much more psychopathic would our more significant ideas, beliefs, institutions, customs and laws prove to be on similar detailed investigation! Is, therefore, our self-expression in life and civilization nothing more than a symptom, identical in its source and mechanism with the symptoms of nervous and mental illness? The book is really a psychiatric criticism of normality based upon a chosen item of typically normal behaviour. It is, however, written in a way that will be easily understood by every intelligent reader.' This book is a re-issue originally published in 1951. The language used is a reflection of its era and no offence is meant by the Publishers to any reader by this re-publication.