mock me. Ximena’s visions of the future have helped her achieve fabulous wealth, but her mind cannot handle the strain. She hides in her remote home, living like a hermit in the hopes of not having any more of the dooming visions that push her to the brink. When her friend Andromeda tells her that she is needed to save magic, she’s not sure that she can help. All she sees is doom. Martellus is a troll, a member of a dying breed. There are only ten trolls remaining in Dream, and no matter their power, their only hope for the future is finding compatible humans in the hope that something of their kind will be preserved. Equally important, at least to Martellus, is vengeance on those who trapped them in Dream at the start. Preserving all the races will spite them, and the woman the service matches him with can provide the power and wealth needed to do so, if she can be freed from the chains of her uncontrolled gift. Both goals align, at least at this. Martellus has one task: convince Ximena to help them. But if she does, will it be to help his kind, or love of Martellus himself?

What do medieval Icelanders mean when they say "troll"? What did they see when they saw a troll? What did the troll signify to them? And why did they see them? The principal subject of this book is the Norse idea of the troll, which the author uses to engage with the larger topic of paranormal experiences in the medieval North. The texts under study are from 13th-, 14th-, and 15th-century Iceland. The focus of the book is on the ways in which paranormal experiences are related and defined in these texts and how those definitions have framed and continue to frame scholarly interpretations of the paranormal. The book is partitioned into numerous brief chapters, each with its own theme. In each case the author is not least concerned with how the paranormal functions within medieval society and in the minds of the individuals who encounter and experience it and go on to narrate these experiences through intermediaries. The author connects the paranormal encounter closely with fears and these fears are intertwined with various aspects of the human experience including gender, family ties, and death. The Troll Inside You hovers over the boundaries of scholarship and literature. Its aim is to prick and provoke but above all to challenge its audience to reconsider some of their preconceived ideas about the medieval past.

A slim but powerful work of metafiction by a Nobel Prize-winning French writer and intellectual. André Gide is the inventor of modern metafiction and of autofiction, and his short novel Marshlands shows him handling both forms with a deft and delightful touch. The protagonist of Marshlands is a writer who is writing a book called Marshlands, which is about a reclusive character who lives all alone in a stone tower. The narrator, by contrast, is anything but a recluse: He is an indefatigable social butterfly, flitting about the Paris literary world and always talking about, what else, the wonderful book he is writing, Marshlands. He tells his friends about the book, and they tell him what they think, which is not exactly flattering, and of course those responses become part of the book in the reader’s hand. Marshlands is both a poised satire of literary pretension and a superb literary invention, and Damion Searls’s new translation of this early masterwork by one of the key figures of twentieth-century literature brings out all the sparkle of the original.

This book constitutes the revised selected papers of the 14th Italian Workshop on Artificial Life and Evolutionary Computation, WIVACE 2019, held in Rende, Italy, in September 2019. The 13 full papers and 4 short paper presented were thoroughly reviewed and selected from 31 submissions. They are focused on the topics of information systems, design and analysis of algorithms, artificial intelligence, machine learning, cognitive science, modeling and simulation, collaborative and social computing, parallel computing, distributed computing. Chapters 14, 15, 16, and 17 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

The concept of using flexible, reelable pipe to transport liquids, gases, and vapours is not a new one. As early as the 1940s a steel braided elastomeric pipeline was developed for the Allied Forces in order to transport fuels to support the Normandy Beacheads. In fact, the longest flexible pipeline ever constructed is likely to be that laid across the English Channel as part of 'Operation Pluto'. The methodology used to handle and instal such pipe is also not new. Ellis (1943, London) in an early patent specification identifies three basic objectives for a flexible pipelining method. These are: prefabrication of the pipe onshore; coiling of the pipe on suitable drums or reels; and using such reels to lay pipe from anchored or motorised barges. The design concept for flexible pipe is also not a new invention given that flexible hoses and umbilicals have been in service for more than sixty years. A break-through was however achieved by the French Institute of Petroleum in the early 1970s when they developed an improved steel reinforced pipe structure having a high axial loading capaci ty which utilised corrosion and hydrocarbon resistant polymers to extend pipe service lifetime. This early pipe design utilised established cable making techniques to apply steel armour and axially and radially reinforce alternating layers of polymer sheaths. The pipe was primarily developed as a flowline for use in static seabed applications.

Fourteen stories including "Nils in the Forest, " "The Magic Book, " and "Pixie Visitors."