Set in the world of Larry Niven's popular The Magic Goes Away, The Burning City transports readers to an enchanted ancient city bearing a provocative resemblance to our own modern society. Here Yagen-Atep, the volatile and voracious god of fire, alternately protects and destroys the city's denizens. In Tep's Town, nothing can burn indoors and no fire can start -- except when the Burning comes upon the city. Then the people, possessed by Yagen-Atep, set their own town ablaze in a riotous orgy of destruction that often comes without warning. Whandall Placehold has lived with the Burning all his life. Fighting his way to adulthood in the mean-but-magical streets of the city's most blighted neighborhoods, Whandall dreams of escaping the god's wrath to find a new and better life. But his best hope for freedom may lie with Morth of Atlantis, the enigmatic sorcerer who killed his father!

At 1:27 on the morning of August 4, 2005, Herbert Manes fatally stabbed Robert Monroe, known as Shorty, in a dispute over five dollars. It was a horrific yet mundane incident for the poor, heavily African American neighborhood of North Philadelphia—one of seven homicides to occur in the city that day and yet not make the major newspapers. For Michael B. Katz, an urban historian and a juror on the murder trial, the story of Manes and Shorty exemplified the marginalization, social isolation, and indifference that plague American cities. Introduced by the gripping narrative of this murder and its circumstances, Why Don't American Cities Burn? charts the emergence of the urban forms that underlie such events. Katz traces the collision of urban transformation with the rightward-moving social politics of late twentieth- and early twenty-first-century America. He shows how the bifurcation of black social structures produced a new African American inequality and traces the shift from images of a pathological black "underclass" to praise of the entrepreneurial poor who take advantage of new technologies of poverty work to find the beginning of the path to the middle class. He explores the reasons American cities since the early 1970s have remained relatively free of collective violence while black men in bleak inner-city neighborhoods have turned their rage inward on one another rather than on the agents and symbols of a culture and political economy that exclude them. The book ends with a meditation on how the political left and right have come to believe that urban transformation is inevitably one of failure and decline abetted by the response of government to deindustrialization, poverty, and race. How, Katz asks, can we construct a new narrative that acknowledges the dark side of urban history even as it demonstrates the capacity of government to address the problems of cities and their residents? How can we create a politics of modest hope?

A practical and irreverent guide to Burning Man, its philosophy, why people do this to themselves, and how it matters to the world Over 30 years Burning Man has gone from two families on a San Francisco beach to a global movement in which hundreds of thousands of people around the world create events on every continent. It has been the subject of fawning media profiles, an exhibit in the Smithsonian, and is beloved by tech billionaires and boho counterculturalists alike. But why does it matter? What does it actually have to offer us? The answer, Caveat Magister writes, is simple: Burning Man's philosophy can help us build better communities in which individuals' freedom to follow their own authentic passions also brings them together in common purpose. Burning Man is a prototype, and its philosophy is a how-to manual for better communities, that, instead of rules, offers principles. Featuring iconic and impossible stories from "the playa," interviews with Burning Man's founders and staff, and personal recollections of the late Larry Harvey--Burning Man's founder, "Chief Philosophical Officer," and the author's close friend and colleague--The Scene That Became Cities introduces readers to the experience of Burning Man; explains why it grew; posits how it could impact fields as diverse as art, economics, and politics; and makes the ideas behind it accessible, actionable, and useful.

For fans of Ender’s Game, Red Rising, and The Hunger Games comes an explosive, epic science fiction debut... Cities vanished, gone in flashes of world-shattering destruction. An alien race had come to make Earth theirs, bringing a power so far beyond human technology it seemed like magic. It was nearly the end of the world—until we learned to seize the power, and use it to fight back. The war has raged for five centuries. For a cadet like Jax, one of the few who can harness the enemy’s universe-altering force, that means growing up in an elite military academy, training for battle at the front—and hoping he is ready. For Naomi, young nomad roaming the wilds of a ruined Earth, it means a daily fight for survival against the savage raiders who threaten her caravan. When a new attack looms, these two young warriors find their paths suddenly intertwined. Together with a gifted but reckless military commander, a factory worker drafted as cannon fodder, a wild and beautiful gunfighter, and a brilliant scientist with nothing to lose—they must find a way to turn back the coming invasion, or see their home finally and completely destroyed.

Part of the Peter Owen World Series: Baltics'This story glows somewhere on the fringes of my consciousness, so close I can almost touch it.' Opening up about her family history, Tiina revisits the first two decades of her life following the Second World War, in Tartu, Estonia. The city, destroyed by Nazi invasion then rebuilt and re-mapped by the Soviets, is home to many secrets, and little Tiina knows them all, even if she does not know their import. The adult world that makes up Communist society, is one of cryptic conversations, undiagnosed dread and heavy drinking. From the death of Stalin to the gradual separation of her parents, Tiina, as a young girl, experiences both domestic and great events from the periphery, and is, therefore, powerless to prevent the defining tragedy in her life - a suicide in the family.Translated for the first time into English, Burning Cities is an intimate portrayal of life under Soviet Communism and an absorbing family drama told with poetic precision. Translated from the Estonian by Adam Cullen.

Jessica Bruderis a reporter for theOregonian.Her writing has also appeared in theNew York Times,theWashington Post,and theNew York Observer.She lives in Portland, Oregon.