From the twisted imaginations of Grant Morrison and Chris Weston comes weirdness of the deepest level.

With the Christmas season upon him, Detective Sergeant Bruce Robertson of Edinburgh's finest is gearing up socially—kicking things off with a week of sex and drugs in Amsterdam. There are some sizable flies in the ointment, though: a missing wife and child, a nagging cocaine habit, some painful below-the-belt eczema, and a string of demanding extramarital affairs. The last thing Robertson needs is a messy, racially fraught murder, even if it means overtime—and the opportunity to clinch the promotion he craves. Then there's that nutritionally demanding (and psychologically acute) intestinal parasite in his gut. Yes, things are going badly for this utterly corrupt tribune of the law, but in an Irvine Welsh novel nothing is ever so bad that it can't get a whole lot worse. . . .In Bruce Robertson Welsh has created one of the most compellingly misanthropic characters in contemporary fiction, in a dark and disturbing and often scabrously funny novel about the abuse of everything and everybody. "Welsh writes with a skill, wit and compassion that amounts to genius. He is the best thing that has happened to British writing in decades."—Sunday Times [London] "[O]ne of the most significant writers in Britain. He writes with style, imagination, wit, and force, and in a voice which those alienated by much current fiction clearly want to hear."—Times Literary Supplement "Welsh writes with such vile, relentless intensity that he makes Louis-Ferdinand Céline, the French master of defilement, look like Little Miss Muffet. "—Courtney Weaver, The New York Times Book Review "The corrupt Edinburgh cop-antihero of Irvine Welsh's best novel since Trainspotting is an addictive personality in another sense: so appallingly powerful is his character that it's hard to put the book down....[T]he rapid-fire rhythm and pungent dialect of the dialogue carry the reader relentlessly toward the literally filthy denouement. "—Village Voice Literary Supplement, "Our 25 Favorite Books of 1998" "Welsh excels at making his trash-spewing bluecoat peculiarly funny and vulnerable—and you will never think of the words 'Dame Judi Dench' in the same way ever again. [Grade:] A-. "—Charles Winecoff, Entertainment Weekly

The Filth is a groundbreaking, mind-altering voyage of conspiracies and revelations. Since the early 1950s, a secret police force known only as The Hand has been covertly protecting society and making sure that life continues along its prescribed path. But when a rogue agent of the enigmatic organization introduces numerous threats to the social hygiene of existence, the future of the world teeters on the edge of cataclysmic change. Now as the hour of chaos approaches. The Hand's only chance of success rests on the shoulders of their greatest agent, a man who is traumatically fixed in a hypnotic state in which he believes himself to be a fat, balding, middle-aged loser with an addiction to porn.

The tiers are shifting. The omniverses are under attack. And only one man has the chromosomes to make things right. Or does he? Filthy Frank begins life as the harmless creator of extinction level radioactive weapons, but is taken far into the deepest recesses of the omniverses to learn how everything came to be and how everything will be. If it were only that simple. He and his group of deviant disciples are chased from realm to realm by murderous chimpillas and treacherous peace lords, as he seeks to understand the dark secrets of the omniverses. An encounter with the Ultimate God might be his only chance, but Frank must first survive not only those who fight for evil but his own struggle for good as well. If only his chromosomes would stop multiplying...

The Filth of Progress explores the untold side of a well-known American story. For more than a century, accounts of progress in the West foregrounded the technological feats performed while canals and railroads were built and lionized the capitalists who financed the projects. This book salvages stories often omitted from the triumphant narrative of progress by focusing on the suffering and survival of the workers who were treated as outsiders. Ryan Dearinger examines the moving frontiers of canal and railroad construction workers in the tumultuous years of American expansion, from the completion of the Erie Canal in 1825 to the joining of the Central Pacific and Union Pacific railroads in 1869. He tells the story of the immigrants and Americans—the Irish, Chinese, Mormons, and native-born citizens—whose labor created the West’s infrastructure and turned the nation’s dreams of a continental empire into a reality. Dearinger reveals that canals and railroads were not static monuments to progress but moving spaces of conflict and contestation.

NAMELESS tells the story of a down-at-heel occult hustler known only as –Nameless” who is recruited by a consortium of billionaire futurists as part of a desperate mission to save the world. When Nameless and his teammates inadvertently unleash a malignant soul-destroying intelligence, the stage is set for a nightmarish, nihilistic journey to the outer reaches of human terror. Collects NAMELESS #1-6.

National Book Critics Circle Award Finalist Adding to the Latina tradition, Carmen Giménez Smith, politically aware and feminist-oriented, focuses on general cultural references rather than a sentimental personal narrative. She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility. The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov’s Lolita, Facebook entries and Greek gods, they appear as part of the poet’s cultural critique. Phrases such as “the caustic domain of urchins” and “the gelatin shiver of tea’s surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.” Giménez Smith’s poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator’s personality. Deftly blending a variety of tones and styles, Giménez Smith’s poems offer a daring and evocative look at deep cultural issues.