A moving lyric meditation on the Congo River that explores the identity, chaos, and wonder of the Democratic Republic of Congo as well as race and the detritus of colonialism. With The River in the Belly, award-winning Congolese author Fiston Mwanza Mujila seeks no less than to reinitiate the Congo River in the imaginary of European languages. Through his invention of the “solitude”—a short poetic form lending itself to searing observation and troubled humor, prone to unexpected tonal shifts and lyrical u-turns—the collection celebrates, caresses, and chastises Central Africa’s great river, the world’s second largest by discharge volume. Drawing inspiration from sources as diverse as Soviet history, Congolese popular music, international jazz, and everyday life in European exile, Mwanza Mujila has fashioned a work that can speak to the extraordinary hopes and tragedies of post-independence Democratic Republic of the Congo while also mining the generative yet embattled subject position of the African diasporic writer in Europe longing for home. Fans of Tram 83 will discover in River the same incandescent, improvisatory verbal energy that so dazzled them in Mwanza Mujila’s English-language debut.

A sorceress and a police detective track a reborn Jack the Ripper through historically recreated cities, from Victorian London to Montezuma's Mexico City.

When Isabel Burley returns home to care for her mother, who is suffering from Alzheimer's, she finds a bemused, angry old woman, prey to the dangers of failing memory, the inability to run her household—and the local villains who are eyeing her isolated home. But as the locals close in, Isabel finds herself struggling with her own emotions. She thinks she has come home to do some good, but is she really looking for the affection she lacked as a child? Alienated by her mother's growing eccentricity, Isabel becomes locked in a relationship of love, conflict, and simmering violence, with roots that go deep into the past.

A fiendish lifestyle guide for today’s discerning evil-doers from the author of the perilously popular How to Be a Villain. All those aspiring ne’er-do-wells who cackled all the way to the cash register with the Neil Zawacki’s How to Be a Villain are ready to embrace the finer points of the evil life with The Villain’s Guide to Better Living. It covers all the topics contemporary villains care about, such as: Home d cor—Gothic? Apocalyptic? Ikea? Friends—Do I have any? Can I make them? Work—Should I be a mad scientist or obsessed with revenge? Or both?

When Michael Donaghy died in 2004 at the age of fifty, he was one of the UK’s best-known and best-loved poets; he was also a literary critic of the first rank. Donaghy’s prose is notable for the same delightfully lucid style and lightly worn erudition so admired in his verse. His was also the most intellectually promiscuous of minds, and he was happy to allude to Irish music, neuroscience and Renaissance art in the same breath – and rarely resisted a good joke, if it served his argumentative purpose. This companion volume to the Collected Poems gathers together the best of his writing on poetry and the arts, as well as a number of fascinating and revealing interviews. It also reprints his classic primer in ars poetica, ‘Wallflowers’.

In how many Hindi films has the hero been afflicted by the Big C (cancer)? Who played a double role in Sholay? Which early Dev Anand movie had the song ‘Usne phenka leg break to maine mara chhakka?’ From Geet Gaata Chal (songs that became movies) to Nishabd (ten silent scenes of Amitabh Bachchan), every page in this bumper book is going to engross and entertain you.

"The Masque of the Red Death", originally published as "The Mask of the Red Death: A Fantasy", is an 1842 short story by American writer Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death, by hiding in his abbey. He, along with many other wealthy nobles, hosts a masquerade ballwithin seven rooms of the abbey, each decorated with a different color. In the midst of their revelry, a mysterious figure disguised as a Red Death victim enters and makes his way through each of the rooms. Prospero dies after confronting this stranger, whose "costume" proves to contain nothing tangible inside it; the guests also die in turn. Poe's story follows many traditions of Gothic fiction and is often analyzed as an allegory about the inevitability of death, though some critics advise against an allegorical reading. Many different interpretations have been presented, as well as attempts to identify the true nature of the titular disease. The story was first published in May 1842 in Graham's Magazineand has since been adapted in many different forms, including a 1964 film starring Vincent Price.