The Tower at the Edge of the World is William Heinesen's last novel written when he was 76, and is the summation of all of his work. He is one of the greatest, if not the greatest, Nordic author of the twentieth century. William Heinesen describes The Tower at the Edge of the World as a poetic mosaic novel about earliest childhood. There is the perspective of both the child and the old man looking back at his life as a child. Although there is a lot of tangible detail and recognisable characters the book has a mythic quality. The events in a small community in the windswept Atlantic ocean being recorded by the writer in his room, his tower at the edge of the world, have a larger than life feel. Torshavn and his childhood are used to tell the history of the world and of creation. 'William Heinesen was, by a long way, the best writer that the Faroe Islands have ever produced. Many have him down as the most important Scandinavian novelist of the 20th century, and he only declined a Nobel prize because he thought it should go to someone who wrote in Faeroese, which he didn't.' Laurence Phelan in The Independent on Sunday

'Absolutely breathtaking' Christy Lefteri, Sunday Times bestselling author of The Beekeeper of Aleppo. We all have something to tell those we have lost . . . On a windy hill in Japan, in a garden overlooking the sea stands a disused phone box. For years, people have travelled to visit the phone box, to pick up the receiver and speak into the wind: to pass their messages to loved ones no longer with us. When Yui loses her mother and daughter in the tsunami, she is plunged into despair and wonders how she will ever carry on. One day she hears of the phone box, and decides to make her own pilgrimage there, to speak once more to the people she loved the most. But when you have lost everything, the right words can be the hardest thing to find . . . Then she meets Takeshi, a bereaved husband whose own daughter has stopped talking in the wake of their loss. What happens next will warm your heart, even when it feels as though it is breaking... The Phone Box at the Edge of the World is an unforgettable story of the depths of grief, the lightness of love and the human longing to keep the people who are no longer with us close to our hearts. Everyone is talking about The Phone Box at the Edge of the World 'A moving and uplifting anatomisation of grief and the small miraculous moments that persuade people to start looking forward again' Sunday Times 'Strangely beautiful, uplifting and memorable, it's a book to savour' Choice, Book of the Month 'A poignant, atmospheric novel dealing with love, coming to terms with loss and the restoration of one's self' Daily Mail 'A story about the dogged survival of hope when all else is lost . . . A striking haiku of the human heart' The Times 'Beautiful. A message of hope for anyone who is lost, frightened or grieving' Clare Mackintosh, Sunday Times bestselling author of After the End 'Incredibly moving. It will break your heart and soothe your soul' Stacey Halls, Sunday Times bestselling author of The Familiars 'Mesmerising . . . beautiful . . . a joy to read' Joanna Glen, Costa shortlisted author of The Other Half of Augusta Hope 'Spare and poetic, this beautiful book is both a small, quiet love story and a vast expansive meditation on grieving and loss' Heat 'A perfect poignant read' Woman & Home

The celebrated author offers her thoughts on a broad range of subjects, including literary criticism, the state of science fiction writing today, and government and governmental policies.

“Ursula Le Guin at her best . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers.” —Elizabeth Hand, The Washington Post Book World “I have decided that the trouble with print is, it never changes its mind,” writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading. “If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin.” —Mary Mackey, San Francisco Chronicle

An orphan girl fights to save the inhabitants of a magical house in this first book in the rollicking middle grade magical adventure series perfect for fans of Nevermoor and Greenwild! Nine is an orphan pickpocket determined to escape her life in the Nest of a Thousand Treasures where she’s one of many thieves only valued for what they can steal. When she lifts a house-shaped ornament from a mysterious woman’s purse, she knocks on its tiny door and watches it grow into a huge, higgledy-piggledy building. Inside, Nine meets the eccentric people who call the magical house their home: Dr. Spoon the alchemist, Flabberghast the young wizard and competitive hopscotch-er, and Eric the troll housekeeper with a strong emotional attachment to his feather duster. For years, they have been desperate to end the curse on the house that prevents them from leaving, finding the bathroom on the first try, or opening the tea cupboard. They can’t even change the scenery outside the windows because the toad’s tongue that enables the structure to move around has gone missing. After years of having only herself to count on, prickly Nine doesn’t have an altruistic bone in her body and should be the very last choice for anyone looking for a hero, but she’s the only one around. With the promise of a life-changing reward in the balance, she sets her street smarts against bats with acid dung, a burping sugar bowl, and worse as she uncovers more about the curse…and herself.

Embracing an improbable stretch of sobriety, unlicensed P.I. Duck Darley has proven himself stronger than the temptations that loom in the shadows of New York City. But the familiar pull of self-destruction lingers like garbage in July when Layla Soto, a sharp-tongued Park Avenue teenager with a family as screwed up as his own, presents a twisted missing-persons case he can’t refuse . . . Layla saw video evidence of her billionaire father being abducted from their home—at the top of the tallest residential tower on earth. She suspects her grandmother, a Chinese social climber on husband number three, orchestrated the act to silence her only son. Duck agrees to investigate the hedge funder’s disappearance, if only for the rush of a new thrill—and an excuse to reconcile with Cass Kimball, his leather-clad sometime partner who nearly got him killed . . . As the unlikely duo become immersed in a high-stakes ransom linked to the international drug trade and the delicate relations between the two most powerful nations on earth, survival means trusting no one. Because when confronting absolute power, certain forces will stop at nothing to bury the truth.