Seeking fame with his violin, eight-year-old Mishka joins a circus.

Natasha is staying with her grandfather in Horridgrad - a town full of criminals and corrupt officials, ruled by Ivan the Horrid. To cheer her up, her grandfather buys her a snow white puppy. She calls him Mishka. Mishka grows to be big and brave. He foils a post office robbery and saves some children from drowning. Soon he is helping scare all the thugs from the streets. Everyone feels safer with Mishka around. But Ivan is not about to let the 'Big Dog' ruin his racket. When he discovers Mishka's secret he plots to use it to get rid of him for good

Reyansh is a boy who is into simple living and high thinking, who feels that our beliefs can manifest into reality. He leaves his well-paying job to do something big in his life. He chooses to become an entrepreneur. Besides his career, he has always wanted someone in his life with whom he can be as real as he is. Mishka is a simple innocent girl who has deep faith in love and destiny. She feels from the bottom of her heart that someone somewhere is made for her. She believes in the power of the universe and that everything happens for the reason. Will Reyansh get the one to whom he can say “you are my everything”? Will Mishka get the one to whom she can say “you are the one who is made for me”? Are they destined to be together or has destiny some other plan for them? What will happen when their different ways meet at the same destination?

"This new series has me very excited." —Brad Thor As the brutal Russian mafia becomes the most powerful and deadly criminal enterprise in the U.S., it’s up to covert operative Rob Tacoma to fight back, in a new series by New York Times bestseller Ben Coes. Ruthless, clever, and unbelievably violent, the Russian mafia has rapidly taken over the criminal underworld in the U.S. and law enforcement has been unable to stem the tide. When a powerful Russian mob family declares war by publicly executing two high-profile American politicians, the message is unmistakable – opposition will be met with overwhelming deadly force. With no other viable options, the President creates a clandestine assassinations team to find and eliminate the unreachable men running this deadly criminal operation. The CIA recruits two Tier 1 operators – former Navy SEALs Billy Cosgrove and Rob Tacoma. But before they can even get started, the Russians act – murdering Cosgrove in his own home. Now Tacoma is on his own against an organization with endless resources and no boundaries. Step one requires the near impossible - find and kill the hidden mob boss behind Cosgrove’s death. To do this, he’ll have to take on an army in a battle where there are no rules and no limits.

In this powerful and achingly beautiful novel, Janette Turner Hospital tackles head-on questions of national security, art, terrorism and love. From the moment Leela’s ear catches the first few bars of music in between the roar of subway trains, she’s entranced by its haunting beauty. Letting the music reel her in, in perfect fifths, it’s at the end of the inbound platform that she finds Mishka Bartok, singing Che farò senza Euridice and accompanying himself on the violin. He’s surrounded by a cluster of commuters, but hardly seems to notice they are there until he stops playing. Despite Mishka’s reluctance to talk, Leela discovers that he’s a graduate student at Harvard, studying composition. She’s a mathematician at MIT, researching the math of music. Their connection is immediate, and that night they embark on a steamy love affair. Living together in Boston, Leela and Mishka pursue their mutual passions — both academic and carnal — in a fog, as if the outside world does not exist. They have both distanced themselves from their families — Mishka from his mother and grandparents in Australia, Leela from her father and sister back in Promised Land, South Carolina. Both recoil from the reality of the city streets, where terrorists attack American civilians and a subway bombing under Harvard Square comes dangerously close to tearing their world apart. But that is ultimately the effect of the bombing, when Leela is grabbed off the street, thrust into a dark car, and taken to an interrogation room. There, she is questioned about the recent attacks by a masked man who tells her he’s a member of a private security force. He also asks directly about Mishka — who often visits an Arab café and a mosque that are under surveillance, and socializes with known instigators… all signs that he’s a terrorist, or at least aiding those responsible for the subway bombing. When Leela’s captor removes his mask at last, Cobb stands before her: the person she was perhaps closest to as a teenager back in Promised Land. Since leaving the army, after a long stint in the Middle East, he’s been involved in paramilitary work. Cobb knows from experience that photographs can be disastrously misinterpreted, but in his eyes, Mishka is guilty. Against her instincts, Leela thinks back to Mishka’s many unexplained disappearances, often around the time of such attacks. It’s then that she realizes the mystery and intensity at the heart of their relationship could be hiding much more than she’d thought. Mishka disappears again the next day, and doubt erodes Leela’s love as she embarks on her own investigation to find him and unravel the mystery of his life. Little does she know that her search will lead her across the globe and into an underworld of kidnapping, torture and despair. With this compelling re-imagining of the Orpheus story, Janette Turner Hospital again shows her genius, interweaving a literary thriller with a story of passion and the triumph of decency in confusing and dangerous times. It is at once a love story on a grand scale that spans America, Australia and the Middle East, and an exploration of how ghastly side effects of terrorism can wreak havoc on individual lives.

Why do contemporary writers use myths from ancient Greece and Rome, Pharaonic Egypt, the Viking north, Africa's west coast, and Hebrew and Christian traditions? What do these stories from premodern cultures have to offer us? The Metamorphoses of Myth in Fiction since 1960 examines how myth has shaped writings by Kathy Acker, Margaret Atwood, William S. Burroughs, A. S. Byatt, Neil Gaiman, Norman Mailer, Toni Morrison, Thomas Pynchon, Kurt Vonnegut, Jeanette Winterson, and others, and contrasts such canonical texts with fantasy, speculative fiction, post-singularity fiction, pornography, horror, and graphic narratives. These artistic practices produce a feeling of meaning that doesn't need to be defined in scientific or materialist terms. Myth provides a sense of rightness, a recognition of matching a pattern, a feeling of something missing, a feeling of connection. It not only allows poetic density but also manipulates our moral judgments, or at least stimulates us to exercise them. Working across genres, populations, and critical perspectives, Kathryn Hume elicits an understanding of the current uses of mythology in fiction.