"Steeped in the tradition of the Indian epic, yet modern and vastly entertaining." —The Times (London) In her fiction debut, Alice Albinia weaves a multithreaded epic tale that encompasses divine saga and familial discord and introduces an unforgettable heroine. Leela—alluring, taciturn, haunted—is moving from New York back to Delhi. Worldly and accomplished, she has been in self-imposed exile from India and her family for decades; twenty-two years earlier, her sister was seduced by the egotistical Vyasa, and the fallout from their relationship drove Leela away. Now an eminent Sanskrit scholar, Vyasa is preparing for his son’s marriage. But when Leela arrives for the wedding, she disrupts the careful choreography of the weekend, with its myriad attendees and their conflicting desires. Gleefully presiding over the drama is Ganesh—divine, elephant-headed scribe of the Mahabharata, India’s great epic. The family may think they have arranged the wedding for their own selfish ends, but according to Ganesh it is he who is directing events—in a bid to save Leela, his beloved heroine, from Vyasa. As the weekend progresses, secret online personas, maternal identities, and poetic authorships are all revealed; boundaries both religious and continental are crossed; and families are ripped apart and brought back together in this vibrant and brilliant celebration of family, love, and storytelling.

Lawrence Hill’s award-winning novel is a major television miniseries airing on BET Networks. The Book of Negroes (based on the novel Someone Knows My Name) will be BET’s first miniseries. The star-studded production includes lead actress Aunjanue Ellis (Ray, The Help), Oscar winner Cuba Gooding Jr. (Jerry Maguire, A Few Good Men), Oscar and Emmy winner Louis Gossett Jr. (A Raisin in the Sun, Boardwalk Empire), and features Lyriq Bent (Rookie Blue), Jane Alexander (The Cider House Rules), and Ben Chaplin (The Thin Red Line). Director and co-writer Clement Virgo is a feature film and television director (The Wire) who also serves as producer with executive producer Damon D’Oliveira (What We Have). In this “transporting” (Entertainment Weekly) and “heart-stopping” (Washington Post) work, Aminata Diallo, one of the strongest women characters in contemporary fiction, is kidnapped from Africa as a child and sold as a slave in South Carolina. Fleeing to Canada after the Revolutionary War, she escapes to attempt a new life in freedom.

Intersectional Feminist Readings of Comics collects several theoretically informed close reading of comics and graphic literature that apply an intersectional feminist lens to the interpretation of several contemporary North American graphic narratives. The essays examine use a range of interpretive lenses drawn from theoretical models used in contemporary aesthetics, media studies, and literary criticism to analyze mainstream figures like DC’s Catwoman and Marvel’s Miss America and Doctor Strange, to contextualize historical and speculative comics by Indigenous American illustrators, and to explicate autography by critically lauded Jewish, queer and female cartoonists. In the first half of the book, the chapters examine ways in which superhero comics and the cinematic and televisual adaptations thereof, reify, revise and reject gender parity, systemic misogyny and heteropatriarchy through visual and textual rhetorics of representation. In the second part of the volume, the chapters look at the ways that feminist interpretive practices illuminate the radical work undertaken by cartoonists from historically marginalized communities in the U.S. and Canada. Across both halves, readers will find applications of longstanding feminist critical traditions, like ecofeminism, as well as new intersectional extrapolations of narratology, autobiographical studies, and visual rhetoric, which have been applied to the selected comics in insightful and innovative ways. This is a lively and varied collection suitable for students and scholars in gender studies, cultural studies, media studies and literary studies.

Multiculturalism, and its representation, has long presented challenges for the medium of comics. This book presents a wide ranging survey of the ways in which comics have dealt with the diversity of creators and characters and the (lack of) visibility for characters who don’t conform to particular cultural stereotypes. Contributors engage with ethnicity and other cultural forms from Israel, Romania, North America, South Africa, Germany, Spain, U.S. Latino and Canada and consider the ways in which comics are able to represent multiculturalism through a focus on the formal elements of the medium. Discussion themes include education, countercultures, monstrosity, the quotidian, the notion of the ‘other," anthropomorphism, and colonialism. Taking a truly international perspective, the book brings into dialogue a broad range of comics traditions.

Fans of the The Gifting series have long been asking for more and award-winning author K.E. Ganshert has delivered! Experience the intrigue, the romance, and the chilling world of The Gifting, where the mentally unstable are locked away and belief in the supernatural has been eradicated. This time, from Luka’s point of view with never-before-seen content. 17-year-old Luka Williams has a secret. He sees things nobody else can see, feels things nobody else can feel, and dreams about the same girl every night. A girl in danger. A girl he must save. A girl who doesn’t exist. Until one day, she does. Her family moves in next door—upending his world. Calling into question everything he thought he knew. Maybe he’s not crazy after all. Maybe the things he sees are as real as the girl from his dreams.

An account of the emergence of the West Indian novel in English, this work provides valuable insights into the social, cultural and political background, offering concise and focused accounts of the growth of education, the development of literacy, and the formation of West Indian Creole languages.

From the author of The Death of Vishnu, "a big, pyrotechnic…ambitious…ingenious" (Wall Street Journal) novel. Mumbai has emptied under the threat of imminent nuclear annihilation; gangs of marauding Hindu and Muslim thugs rove the desolate streets; yet Sarita can think of only one thing: buying the last pomegranate that remains in perhaps the entire city. She is convinced that the fruit holds the key to reuniting her with her physicist husband, Karun, who has been mysteriously missing for more than a fortnight. Searching for his own lover in the midst of this turmoil is Jaz—cocky, handsome, and glib. "The Jazter," as he calls himself, is Muslim, but his true religion has steadfastly been sex with men. Dodging danger at every step, both he and Sarita are inexorably drawn to Devi ma, the patron goddess who has reputedly appeared in person to save her city. What they find will alter their lives more fundamentally than any apocalypse to come. A wickedly comedic and fearlessly provocative portrayal of individuals balancing on the sharp edge of fate, The City of Devi brilliantly upends assumptions of politics, religion, and sex, and offers a terrifying yet exuberant glimpse of the end of the world.