Virginia’s mom finally leaves Opelousas, Louisiana—in an ambulance, dead from an overdose—the day before the girl turns eighteen. Her mother never told her who her father is, though she regularly blamed him for all that had gone wrong in her life. “Your real father was nothing but a no-account druggie, wife-slugging, whore-mongering, sonuvabitching jailbird.” But Virginia has a stuffed dog he gave her, and she knows there must be more to the story. With few clues about his identity, Virginia sets out to find her father. She meets Daniel, a stepbrother she didn’t know about, who has his own share of problems. He’s living in his mom’s garage after a month in rehab following the Persian Gulf War. Oxy and vodka help dull the pain of his PTSD. Haunted by the image of the pregnant Iraqi woman who died on his watch, he is sure his inability to save her and the fetus caused his wife’s miscarriage. Daniel agrees to help Virginia find her dead father’s family in the hope that orchestrating a reunion will absolve him of his sins in Fallujah. As the pair navigates the landmines of multiple family secrets, they realize they share more than they knew. Chasing after dysfunctional relatives and their own ghosts, it’s not long before things blow up in their faces. In this exploration of Latinos living on the outskirts of society, Martinez crafts scenes of war, grief and loss that will remain with readers long after the last page is turned.

In the riveting conclusion to the acclaimed dystopian series, a boy and girl caught in the chaos of war face devastating choices that will decide the fate of a world. As a world-ending war surges around them, Todd and Viola face monstrous decisions. The indigenous Spackle, thinking and acting as one, have mobilized to avenge their murdered people. Ruthless human leaders prepare to defend their factions at all costs, even as a convoy of new settlers approaches. And as the ceaseless Noise lays all thoughts bare, the projected will of the few threatens to overwhelm the desperate desire of the many. The consequences of each action, each word, are unspeakably vast: To follow a tyrant or a terrorist? To save the life of the one you love most, or thousands of strangers? To believe in redemption, or assume it is lost? Becoming adults amid the turmoil, Todd and Viola question all they have known, racing through horror and outrage toward a shocking finale.

"Brilliantly structured . . . with a delicious tension carefully developed among the wonderful characters." —The New York Times Experience this far-reaching, mind-bending science fiction adventure that uses time travel to merge climate fiction with historical fantasy. From Kelly Robson, Aurora Award winner, Campbell, Nebula, and Theodore Sturgeon finalist, and author of Waters of Versailles Discover a shifting history of adventure as humanity clashes over whether to repair their ruined planet or luxuriate in a less tainted past. In 2267, Earth has just begun to recover from worldwide ecological disasters. Minh is part of the generation that first moved back up to the surface of the Earth from the underground hells, to reclaim humanity's ancestral habitat. She's spent her entire life restoring river ecosystems, but lately the kind of long-term restoration projects Minh works on have been stalled due to the invention of time travel. When she gets the opportunity take a team to 2000 BC to survey the Tigris and Euphrates rivers, she jumps at the chance to uncover the secrets of the shadowy think tank that controls time travel technology. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Dragons, giants, and the monsters of learned discourse are rarely encountered in the Sagas of Icelanders, and therefore, the general teratological focus on physical monstrosity yields only limited results when applied to them. This, however, does not equal an absence of monstrosity – it only means that monstrosity is conceived of differently. This book shifts the view of monstrosity from the physical to the social, accounting for the unique social circumstances presented in the Íslendingasögur and demonstrating how closely interwoven the social and the monstrous are in this genre. Employing literary and cultural theory as well as anthropological and historical approaches, it reads the monsters of the Íslendingasögur in their literary and socio-cultural context, demonstrating that they are not distractions from feud and conflict, but that they are in fact an intrinsic part of the genre’s re-imagining of the past for the needs of the present.

The author reads the Book of Revelation as a text firmly situated in the world of imperial Roman Asia Minor, where it was written. He argues that Revelation is a Christian version of that world, complete with its own gladiatorial combats and other public spectacles.