Emilia's Justice Poor little Emilia who is unwanted from her birth. Her family treats her very badly and unfairly. She suffers terrible anguish when her parents and siblings make her feel unwanted and loathed. One day after school, Emilia accidentally meets Sam, who is also mistreated by his family. He will not settle for it and from him, she learns about his justice. Sam's justice is to kill those who treat him so badly. After she learns what he's done, he gives her the matchbox he used a match out of, to burn down the family's camper. At first, she hesitates to use it herself. She thinks it feels a little wrong. After all, she likes the house she lives in. It takes a while before Emilia has decided that she, too, should have her own justice! Now she had put up with too much! Now she actually thinks she is right to take help from her own justice. It seems to be the only way. Her justice is also mortal in many different ways. It is many times that she has to depend on the help that she gets from her justice. No one around her even suspects her. Emilia learns quickly that it is a great way to escape the worst tormentors. She gets good help from her justice while growing up and it takes a long time before she learns that it is wrong. Everything seems so simple to her because she thinks it's still right. She uses her justice without any feelings of guilt or any remorse whatsoever. A lot happens in her life and everything changes almost constantly around her. Until she one day falls in love and most unfortunately she has to kill her beloved to defend herself from the truth.

Affording a clearer depiction of women in the Late Iron Age and Roman Britain than currently exists, Dorothy Watts examines archaeological, inscriptional and literary evidence to present a unique assessment of women and their place during the Romanization of Britain. Analyzing information from over 4,000 burials in terms of age, health and nutrition, Watt draws comparison with evidence on men’s lives and burials. Effectively integrating her archaeological findings with the political and social history of the late Iron Age and Roman period, she expertly places women in their real context. This fascinating study of women’s status, daily life, religion and death is an invaluable insight into the lives and loves of women in Roman Britain, and students of history, women’s studies, classical studies and archaeology will find this book an indispensable aid to their studies.

Wolfgang Koeppen’s postwar masterpiece in a luminous new translation by the poet Michael Hofmann Pigeons on the Grass is told over a single day in Munich in 1948. The first new cinemas and insurance offices are opening atop the ruins, Korea and Persia are keeping the world in panic, planes rumble in the sky (but no one looks up), newspaper headlines announce war over oil and atomic bomb tests. Odysseus Cotton, a black man, alights at the station and hires a porter; Frau Behrend disowns her daughter; with their interracial love affair, Carla Behrend and Washington Price scandalize their neighbors—who still expect gifts of chocolate and coffee; a boy hustles to sell a stray dog; Mr. Edwin, a visiting poet, prepares for a reading; Philipp gives himself up to despair; Emilia sells the last of her jewelry; Alexander stars as the Archduke in a new German Super-production; and Susanne seeks out a night to remember. In Michael Hofmann’s words, “in their sum, they are the totality of existence.” Koeppen spares no one and sees all in this penetrating and intense novel that surveys those who remain, and those who have just arrived, in a damaged society. As inventive as Joyce and as compulsively readable as Dickens, Pigeons on the Grass is a great lost classic.