Station Eleven meets The Last of Us in this post-apocalyptic sci-fi epic from USA Today and Wall Street Journal best-selling author Ann Christy. Coco Wells hasn’t seen another living person since she was a teenager. All of Manhattan is reliving the same few seconds, minutes, or hours on a loop… and they have been for years. Everything looks normal from a distance, but up close it’s a nightmare. Coco is a survivor. She scavenges for food, reads, and—most importantly—avoids loopers. They ignore her, but only as long as she’s silent. She’s learned the painful lesson that a broken loop can mean death. After eight years of solitude, learning to survive and precisely timing the loops that weave around the city, Coco wonders what lies beyond New York and what has become of the rest of the world. As she leaves home for the first time, one question haunts her above all: “Am I the only one left?” Speculative sci-fi, dystopian apocalypse, and scientific mystery coalesce into The Never-Ending End of the World — a gripping tale of survival, hope, and love from retired Naval Officer Ann Christy.

Groundhog Day meets Ling Ma’s Severance in this “brilliant” (PopSugar) and “exhilarating” (The Millions) comedic novel about two young women trying to save their friendship as the world collapses around them. Bertie and Kate have been best friends since high school. Bertie is a semi-failed cartoonist, working for a prominent Silicon Valley tech firm. Her job depresses her, but not as much as the fact that Kate has recently decided to move from San Francisco to Los Angeles. When Bertie’s attempts to make Kate stay fail, she suggests the next best thing: a trip to Paris that will hopefully distract the duo from their upcoming separation. The vacation is also a sort of last hurrah, coming during the ceasefire in a series of escalating world conflicts. One night in Paris, they meet a strange man in a bar who offers them a private tour of the Louvre. The women find themselves alone in the museum, where nothing is quite as it seems. Caught up in a day that keeps repeating itself, Bertie and Kate are eventually separated, and Bertie is faced with a mystery that threatens to derail everything. In order to make her way back to Kate, Bertie has to figure out how much control she has over her future—and her past—and how to survive in an apocalypse when the world keeps refusing to end.

'Emma Kennedy's books are as funny, warm and life-inspiring as she is' Jenny Colgan 'An excellent read. I loved all the characters' Claudia Winkleman 'A warm, funny and truly life-affirming read. ****' Heat ________________ Three women. Two unforgettable road trips. Wherever you are in life, it's never too late to find yourself. Best friends Agnes and Bea decide to embark on one last adventure before their adult lives begin. For Agnes's mother Florence, a fresh chapter is starting as her youngest flies the nest and her marriage settles into a new routine. But she can't help feeling that something is missing. As Agnes travels to London and Florence follows her heart to Europe, both will discover a world of possibilities they never could have dreamed of... Full of warmth, wit and characters who will steal your heart, The Never-Ending Summer is 2021's perfect escape. _______________________ Praise for Emma Kennedy and The Things We Left Unsaid: 'A rich treat' Jane Fallon 'Moving and magnificent' Claire Balding 'A joyous book' Ruth Jones 'A beautiful novel... so tender and thoughtful. I loved it' Marian Keyes 'Wonderful' Mary Berry

The Never-Ending Digital Journey provides readers with the concepts and steps needed to create successful user experiences. The authors look ahead and explore digital scenarios of the future. They probe how technology is changing the way users interact with brands, and they address today's digital challenges with new ways of surprising consumers, integrating design and engineering. The authors leverage knowledge gleaned from working with renowned global companies to describe the recipe needed to build a Digital Journey. With a strong focus on Agile Pods, they dive into technolo- gies, processes, team building, motivation, and met- rics that enable businesses to construct and nurture the dynamic ecosystems necessary in this digital era to foster success. Over the last several years, customers, employees, and partners have become tech-savvy users whose expectations of "Give me more and deliver it faster" require manageable solutions. The desire to interact with digital ecosystems anywhere, anytime demands that today's businesses create personalized and frictionless experiences to create value for its end users. It's a recipe that must be followed exactly in order to remain relevant. When done correctly, enhancing consumer's daily lives with digital touch points goes far beyond creating a new website, a flashy app, or a "unified" omnichannel experience. The end goal is to construct memorable experiences in a never-ending cycle that increase the ability to retain, convert, and enrich the relationship between businesses and their users. Welcome toThe Never-Ending Digital Journey.

Neoliberalism's war against democracy and how to resist it How do we explain the strange survival of the forces responsible for the 2008 economic crisis, one of the worst since 1929? How do we explain the fact that neoliberalism has emerged from the crisis strengthened? When it broke, a number of the most prominent economists hastened to announce the 'death' of neoliberalism. They regarded the pursuit of neoliberal policy as the fruit of dogmatism. For Pierre Dardot and Christian Laval, neoliberalism is no mere dogma. Supported by powerful oligarchies, it is a veritable politico-institutional system that obeys a logic of self-reinforcement. Far from representing a break, crisis has become a formidably effective mode of government. In showing how this system crystallized and solidified, the book explains that the neoliberal straitjacket has succeeded in preventing any course correction by progressively deactivating democracy. Increasing the disarray and demobilization, the so-called 'governmental' Left has actively helped strengthen this oligarchical logic. The latter could lead to a definitive exit from democracy in favour of expertocratic governance, free of any control. However, nothing has been decided yet. The revival of democratic activity, which we see emerging in the political movements and experiments of recent years, is a sign that the political confrontation with the neoliberal system and the oligarchical bloc has already begun.

"One of the best and most disturbing war novels in years." —The Wall Street Journal “War porn,” n. Videos, images, and narratives featuring graphic violence, often brought back from combat zones, viewed voyeuristically or for emotional gratification. Such media are often presented and circulated without context, though they may be used as evidence of war crimes. War porn is also, in Roy Scranton’s searing debut novel, a metaphor for the experience of war in the age of the War on Terror, the fracturing and fragmentation of perspective, time, and self that afflicts soldiers and civilians alike, the global networks and face-to-face moments that suture our fragmented lives together. In War Porn three lives fit inside one another like nesting dolls: a restless young woman at an end-of-summer barbecue in Utah; an American soldier in occupied Baghdad; and Qasim al-Zabadi, an Iraqi math professor, who faces the US invasion of his country with fear, denial, and perseverance. As War Porn cuts from America to Iraq and back again, as home and hell merge, we come to see America through the eyes of the occupied, even as we see Qasim become a prisoner of the occupation. Through the looking glass of War Porn, Scranton reveals the fragile humanity that connects Americans and Iraqis, torturers and the tortured, victors and their victims.

This volume attempts to show that it is vital that we address the motif of the 'end' in contemporary world – but that this cannot be done without thinking it anew.

In the Retro Hugo Award–nominated novel that inspired the Syfy miniseries, alien invaders bring peace to Earth—at a grave price: “A first-rate tour de force” (The New York Times). In the near future, enormous silver spaceships appear without warning over mankind’s largest cities. They belong to the Overlords, an alien race far superior to humanity in technological development. Their purpose is to dominate Earth. Their demands, however, are surprisingly benevolent: end war, poverty, and cruelty. Their presence, rather than signaling the end of humanity, ushers in a golden age . . . or so it seems. Without conflict, human culture and progress stagnate. As the years pass, it becomes clear that the Overlords have a hidden agenda for the evolution of the human race that may not be as benevolent as it seems. “Frighteningly logical, believable, and grimly prophetic . . . Clarke is a master.” —Los Angeles Times

The end of the world may be upon us, but it certainly is taking its sweet time playing out. The walkers on The Walking Dead have been "walking" for nearly a decade. There are now dozens of apocalyptic television shows and we use the "end times" to describe everything from domestic politics and international conflict, to the weather and our views of the future. This collection of new essays asks what it means to live in a world inundated with representations of the apocalypse. Focusing on such series as The Walking Dead, The Strain, Battlestar Galactica, Doomsday Preppers, Westworld, The Handmaid's Tale, they explore how the serialization of the end of the world allows for a closer examination of the disintegration of humanity--while it happens. Do these shows prepare us for what is to come? Do they spur us to action? Might they even be causing the apocalypse?

Paul Tremblay’s terrifying twist to the home invasion novel—inspiration for the upcoming major motion picture from Universal Pictures “Tremblay’s personal best. It’s that good.” — Stephen King Seven-year-old Wen and her parents, Eric and Andrew, are vacationing at a remote cabin on a quiet New Hampshire lake. Their closest neighbors are more than two miles in either direction along a rutted dirt road. One afternoon, as Wen catches grasshoppers in the front yard, a stranger unexpectedly appears in the driveway. Leonard is the largest man Wen has ever seen, but he is young, friendly, and he wins her over almost instantly. Leonard and Wen talk and play until Leonard abruptly apologizes and tells Wen, “None of what’s going to happen is your fault.” Three more strangers then arrive at the cabin carrying unidentifiable, menacing objects. As Wen sprints inside to warn her parents, Leonard calls out: “Your dads won’t want to let us in, Wen. But they have to. We need your help to save the world.” Thus begins an unbearably tense, gripping tale of paranoia, sacrifice, apocalypse, and survival that escalates to a shattering conclusion, one in which the fate of a loving family and quite possibly all of humanity are entwined. The Cabin at the End of the World is a masterpiece of terror and suspense from the fantastically fertile imagination of Paul Tremblay.