The Nobel laureate s unfinished science fiction novel available in English for the first time ever Awarded the Nobel Prize in literature in 1980, Czeslaw Milosz was one of the twentieth century s most esteemed poets and essayists. This outstanding translation of his only hitherto unavailable work is classic Milosz and a necessary companion volume for scholars and general readers seeking a deeper understanding of his themes. Written in the 1970s and published posthumously in Polish in 2012, Milosz s deliberately unfinished novel is set in a dystopian future where hierarchy, patriarchy, and religion no longer exist. Echoing the structure of The Captive Mind and written in an experimental, postmodern style, Milosz s sole work of science fiction follows four individuals: Karel, a disaffected young rebel; Lino, an astronaut who abandons his life of privilege; Petro, a cardinal racked with doubt; and Ephraim, a potential prophet in exile. The original manuscript of this work is held at the Beinecke Library, and this edition will include photographs of the draft.

A dark epic fantasy inspired by The Prince and the Pauper and the fairy tale The False Prince, from bestselling author C. J. Redwine. Perfect for fans of the Court of Thorns and Roses series and the Wrath and the Dawn duology, The Traitor Prince is a thrilling new standalone novel in the Ravenspire series. Javan Najafai, crown prince of Akram, has spent the last ten years at an elite boarding school, far away from his kingdom. But his eagerly awaited return home is cut short when a mysterious impostor takes his place—and no one believes Javan is the true prince. After barely escaping the impostor’s assassins, Javan is thrown into Maqbara, the kingdom’s most dangerous prison. The only way to gain an audience with the king—and reveal Javan’s identity—is to fight in Maqbara’s yearly tournament. But winning is much harder than acing competitions at school, and soon Javan finds himself beset not just by the terrifying creatures in the arena but also by a band of prisoners allied against him, and even by the warden herself. The only person who can help him is Sajda, who has been enslaved by Maqbara’s warden since she was a child, and whose guarded demeanor and powerful right hook keep the prisoners in check. Working with Sajda might be the only way Javan can escape alive—but she has dangerous secrets. Together, Javan and Sajda have to outwit the vicious warden, outfight deadly creatures, and outlast the murderous prisoners intent on killing Javan. If they fail, they’ll be trapped in Maqbara for good—and the secret Sajda’s been hiding will bury them both.

For years, from her home on a hill outside Nashville, River Jordan felt a call to travel to the mystical Isle of Iona, off the coast of Scotland--the island that gave birth to Celtic Christianity. In The Ancient Way she invites us to leave the sacred space of our homes and our lives and join her on this pilgrimage. With the help of friends and the kindness of strangers, Jordan winds her way across green mountains to late-night ferries, across islands and down one-way roads led by the light of Iona and a trust in God. Along the way she explores ancient Celtic Christian practices such as cherishing creation, trusting spiritual friendship, offering hospitality, creative imagination, and honoring community--carrying them home with her to infuse her daily life. This is an intimate story of imagination, of personal transformation, of stillness and prayer. It's also a quirky, thoughtful guide for cultivating divine connection and creativity as we embark on our own wild adventures, chasing after the mystery that calls us all.

The authoritative translations of The Inferno, The Purgatorio, and The Paradiso—together in one volume. Belonging in the immortal company of the great works of literature, Dante Alighieri’s poetic masterpiece, The Divine Comedy, is a moving human drama, an unforgettable visionary journey through the infinite torment of Hell, up the arduous slopes of Purgatory, and on to the glorious realm of Paradise—the sphere of universal harmony and eternal salvation. Now, for the first time, John Ciardi’s brilliant and authoritative translations of Dante’s three soaring canticles—The Inferno, The Purgatorio, and The Paradiso—have been gathered together in a single volume. Crystallizing the power and beauty inherent in the great poet’s immortal conception of the aspiring soul, The Divine Comedy is a dazzling work of sublime truth and mystical intensity.

YOU have heard of Homer, and of the two wonderful poems, the Iliad and the Odyssey, which bear his name. No one knows whether these poems were composed by Homer, or whether they are the work of many different poets. And, in fact, it matters very little about their authorship. Everybody agrees that they are the grandest poems ever sung or written or read in this world; and yet, how few persons, comparatively, have read them, or know any thing about them except at second-hand! Homer commences his story, not at the beginning, but "in the midst of things;" hence, when one starts out to read the Iliad without having made some special preparation beforehand, he finds it hard to understand, and is tempted, in despair, to stop at the end of the first book. Many people are, therefore, content to admire the great masterpiece of poetry and story-telling simply because others admire it, and not because they have any personal acquaintance with it. Now, it is not my purpose to give you a "simplified version" of the Iliad or the Odyssey. There are already many such versions; but the best way for you, or any one else, to read Homer, is to read Homer. If you do not understand Greek, you can read him in one of the many English translations. You will find much of the spirit of the original in the translations by Bryant, by Lord Derby, and by old George Chapman, as well as in the admirable prose rendering by Butcher and Lang; but you can get none of it in any so-called simplified version. My object in writing this "Story of the Golden Age" has been to pave the way, if I dare say it, to an enjoyable reading of Homer, either in translations or in the original. I have ta-ken the various legends relating to the causes of the Trojan war, and, by assuming certain privileges never yet denied to story-tellers, have woven all into one continuous narrative, ending where Homer's story begins. The hero of the Odyssey—a character not always to be admired or commended—is my hero. And, in telling the story of his boyhood and youth, I have taken the opportunity to repeat, for your enjoyment, some of the most beautiful of the old Greek myths. If I have, now and then, given them a coloring slightly different from the original, you will remember that such is the right of the story-teller, the poet, and the artist. The essential features of the stories remain unchanged. I have, all along, drawn freely from the old tragedians, and now and then from Homer himself; nor have I thought it necessary in every instance to mention authorities, or to apologize for an occasional close imitation of some of the best translations. The pictures of old Greek life have, in the main, been derived from the Iliad and the Odyssey, and will, I hope, help you to a better understanding of those poems when you come to make acquaintance directly with them. Should you become interested in the "Story of the Golden Age," as it is here related, do not be disappointed by its somewhat abrupt ending; for you will find it continued by the master-poet of all ages, in a manner both inimitable and unapproachable. If you are pleased with the discourse of the porter at the gate, how much greater shall be your delight when you stand in the palace of the king, and hearken to the song of the royal minstrel!