The Cradle Place is a collection from Thomas Lux, a self-described "recovering surrealist" and winner of the Kingsley Tufts Award. These fifty-two poems bring to full life the "refreshing iconoclasms" Rita Dove so admired in Lux's earlier work. His voice is plainspoken but moody, humorous and edgy, and ever surprising. These are philosophical poems that ask questions about language and intention, about the sometimes untidy connections between the human and natural worlds. In the poem "Terminal Lake," Lux undermines notions of benign nature, finding dark currents beneath the surface: "it's a huge black coin, / it's as if the real lake is drained / and this lake is the drain: gaping, language- / less, suck- and sinkhole." In the ominous "Render, Render," the narrator asks us to consider a concentration of the essences of our lives: all that is physical, spiritual, remembered, and dreamed for, melded together to make the messy self we present to the world. Lux's voice is intelligent without being bookish, urgent and unrelentingly evocative. He has long been a strong advocate for the relevance of poetry in American culture. The Los Angeles Times praises Lux for his "compelling rhythms, his biting irony, and his steady devotion to a craft that often seems thankless." As Sven Birkerts noted, "Lux may be one of the poets on whom the future of the genre depends."

John Doe and his infant daughter, Jane, appeared on the steps of the Manor the night the earthquakes started and the gateway to the Otherworlds closed. The people on the remote island of Bluehaven have despised them ever since, blaming Jane and her father for their exile. Fourteen years after that night, the largest earthquake yet strikes. The Manor awakens, dragging John into its labyrinth. Accompanied by a pyromaniac named Violet and a trickster named Hickory, Jane must rescue her father and defeat an immortal villain who is trying to harness the mythical power of the Manor.

“A free-wheeling vehicle . . . an unforgettable ride!”—The New York Times Cat’s Cradle is Kurt Vonnegut’s satirical commentary on modern man and his madness. An apocalyptic tale of this planet’s ultimate fate, it features a midget as the protagonist, a complete, original theology created by a calypso singer, and a vision of the future that is at once blackly fatalistic and hilariously funny. A book that left an indelible mark on an entire generation of readers, Cat’s Cradle is one of the twentieth century’s most important works—and Vonnegut at his very best. “[Vonnegut is] an unimitative and inimitable social satirist.”—Harper’s Magazine “Our finest black-humorist . . . We laugh in self-defense.”—Atlantic Monthly

One of the fundamental questions of our existence is why we are so smart. There are lots of drawbacks to having a large brain, including the huge food intake needed to keep the organ running, the frequency with which it goes wrong, and our very high infant and mother mortality rates compared with other mammals, due to the difficulty of giving birth to offspring with very large heads. So why did evolution favour the brainy ape? This question has been widely debated among biological anthropologists, and in recent years, Maslin and his colleagues have pioneered a new theory that might just be the answer. Looking back to a crucial period some 1.9 million years ago, when brain capacity increased by as much as 80%, The Cradle of Humanity explores the implications of two adaptive responses by our hominin ancestors to rapid climatic changes - big jaws, and big brains. Maslin argues that the impact of changing landscapes and fluctuating climates that led to the appearance of intermittent freshwater lakes in East Africa may have played a key role in human evolution. Alongside the physical evidence of fossils and tools, he considers social theories of why a large, complex brain would have provided a major advantage when trying to survive in the constantly changing East African landscape.

The Christmas Cradle For the peaceful town of Willow Ridge, November presents an early holiday surprise. Stranded in the snow, 18-year-old Lena Esh and her boyfriend Josiah Witmer need more than a place to stay for the night. Lena defied her strict family and their judgmental beliefs to run away with Josiah and have his baby. But she's starting to wonder if he can prove as responsible as he is passionate. And she isn't sure how--or if--they can ever find a place to truly call home. Expecting their own miracle baby, Miriam and Ben Hooley rally the town to help the young couple, and Lena draws strength from their unexpected support. Though trouble may come calling, in this season of joyous rebirth, a little child will lead them. And two couples will see their dreams of forever family come true . . .

Lindon has a year left.When his time runs out, he'll have to fight an opponent that no one believes he can beat. Unless he learns sacred arts the right way, from scratch, he won't have a chance to win...and even then, the odds are against him.In the course of their training, he and Yerin travel to the Blackflame Empire, where they fight to master an ancient power.Success means a chance at life, but failure means death.In the sacred arts, only those who risk the most can travel far.

With his duel fast approaching, Lindon is locked away in prison. As a Blackflame, he is too dangerous to remain free. The Skysworn, protectors of the Empire, have imprisoned him to keep him under control until the day of his promised fight arrives. When it does, he will face Jai Long. But a new danger approaches the Empire, closer every day. A legendary creature of impossible size and an endless thirst for blood. A Dreadgod. Only the Skysworn stand between the people of the land and total annihilation. And Lindon may be forced to join them.