Underworlds of Memory argues persuasively that the literary works of the expatriate German author W. G. Sebald can best be understood through the lens of the classical genre of epic. Scholars often read Sebald’s work as a project of cultural memory that aims to reevaluate Europe's past in the wake of the traumatic and complex events of the twentieth century. Sebald’s characters seek out the traces of Europe’s destructive history in strange places. They linger in disused train stations, pause before works of art, and return to childhood homes that turn out to be more foreign than any place they have visited. Underworlds of Memory demonstrates that these strange encounters with the past are based on central tropes of classical epic: the journey to the underworld, the encounter with a work of art, and the return to the homeland. Sebald thus follows in the footsteps of German Jewish authors, including Peter Weiss, Siegfried Kracauer, and Jean Améry, who use these same epic tropes to reconsider the cultural memory of the Holocaust. Underworlds of Memory reads Sebald's works together with the works of these German Jewish authors and the classical epics of Homer and Virgil in order to describe and trace the origins of the unique intervention into cultural memory they embody.

Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.

Classical Memories is an intervention into the field of adaptation studies, taking the example of classical reception to show that adaptation is a process that can be driven by and produce intertextual memories. I see ‘classical memories’ as a memory-driven type of adaptation that draws on and reproduces schematic and otherwise de-contextualised conceptions of antiquity and its cultural ‘exports’ in, broadly speaking, the twentieth and twenty-first centuries. These memory-driven adaptations differ, often in significant ways, from more traditional adaptations that seek to either continue or deconstruct a long-running tradition that can be traced back to antiquity as well as its canonical points of reception in later ages. When investigating such a popular and widespread set of narratives, characters, and images like those that remain of Graeco-Roman antiquity, terms like ‘adaptation’ and ‘reception’ could and should be nuanced further to allow us to understand the complex interactions between modern works and classical antiquity in more detail, particularly when it pertains to postcolonial or post-digital classical reception. In Classical Memories, I propose that understanding certain types of adaptations as intertextual memories allows us to do just that.

Urban Underworlds is an exploration of city spaces, pathologized identities, lurid fears, and American literature. Surveying the 1890s to the 1990s, Thomas Heise chronicles how and why marginalized populations immigrant Americans in the Lower East Side, gays and lesbians in Greenwich Village and downtown Los Angeles, the black underclass in Harlem and Chicago, and the new urban poor dispersed across American cities have been selectively targeted as "urban underworlds" and their neighborhoods characterized as miasmas of disease and moral ruin. The quarantining of minority cultures helped to promote white, middle-class privilege. Following a diverse array of literary figures who differ with the assessment of the underworld as the space of the monstrous Other, Heise contends that it is a place where besieged and neglected communities are actively trying to take possession of their own neighborhoods.

Diagnosed with schizophrenia as a child, sixteen-year-old Erin has spent half of her life in therapy and on drugs, but now must face the possibility of weird things in the real world, including shapeshifting friends and her "alter," a centuries-old vampire.

This thrilling YA fantasy debut follows seventeen-year-old Etta Lark as she navigates the underworld of Craewick to pull off the heist of a lifetime. A YALSA (The Young Adult Library Services Association) Teens' Top Ten Book for 2020, Mansy crafts a grim reality where memories are worth their weight in gold. In the city of Craewick, memories reign. The power-obsessed ruler of the city, Madame, has cultivated a society in which memories are currency, citizens are divided by ability, and Gifted individuals can take memories from others through touch as they please. Seventeen-year-old Etta Lark is desperate to live outside of the corrupt culture, but she grapples with the guilt of an accident that has left her mother bedridden in the city's asylum. When Madame threatens to put her mother up for auction, a Craewick practice in which a "criminal's" memories are sold to the highest bidder before being killed, Etta will do whatever it takes to save her. Even if it means rejoining the Shadows, the rebel group she swore off in the wake of the accident years earlier. To rescue her mother, Etta must prove her allegiance to the Shadows by stealing a memorized map of the Maze, a formidable prison created by the bloodthirsty ruler of a neighboring Realm. Etta faces startling attacks, unexpected romance, and, above all, her own past as she uncovers a conspiracy that challenges everything she knew about herself and the world around her. In a place where nothing is what it seems, can Etta ever become more than a memory thief? Perfect for fans of high-stakemagical heists such as: Leigh Bardugo (Six of Crows) Victoria Aveyard (Red Queen) Roshani Chokshi (The Gilded Wolves) "Mansy's debut will delight fantasy readers who revel in fully developed settings and unusual powers."- Booklist "A welcome addition to the YA fantasy canon, The Memory Thief is a suspenseful page-turner, delightfully chock full of unexpected twists and turns."- Shelf Awareness

New immortals are being created for the first time in thousands of years thanks to the tree of immortality discovered by Persephone and Hades. But Sophie Darrow is not one of them. Nikolaos, the trickster, has given the last ripe immortality fruit to two others, the reincarnations of the gods Dionysos and Hekate: Tabitha and Zoe, currently Sophie's and Adrian's best friends. While the disappointed Sophie struggles to remember Hekate and Dionysos from ancient Greece, she must still face her daily life as a mortal university freshman. Tabitha and Zoe have their own struggles as they come to terms with being newly immortal and their own haunting dreams of past lives and loves. The evil committed by Thanatos invades all of them in heartbreaking memories, and worse still, Sophie and her friends know their enemies are determined to kill again. And even the gods can't save everyone. Molly Ringle's growing list of other successful titles include: The Chrysomelia Stories 1. Persephone's Orchard 2. Underworld's Daughter 3. Immortal's Spring The Goblins of Bellwater All the Better Part of Me Lava Red Feather Blue Sage and King