The quest is about to begin! Toad thought it'd be easy to steal from Mr. Edward P. Owl. Unfortunately for Toad, he isn't the best of thieves. Caught in the act, he's in more trouble than ever before. Now to save his hide, Toad must track down five rare potion ingredients for Mr. Owl. Or else. All Melena Snead wants is her family back, but after the Miggens Street Fire, that isn't very likely. Orphaned and miserable, forced to work in an apothecary, she's determined to find Milo, her missing brother. No matter what. When Melena finds Toad ransacking her apothecary, Toad gets a nasty shock: apothecaries don't carry Mr. Owl's ingredients. Luckily, Melena's willing to help, for a price. With Melena's pet Spit-Fire dragon and Toad's enchanted talking beer mug, they embark on a fantastical journey, traveling the country in search of the potion ingredients. But can they gather all of them in time, what with monsters, pirates, and axe-wielding thieves? And if they do, is there an even greater danger waiting for them at the end?

From the international bestselling author of The Secret Orphan

NEW YORK TIMES BESTSELLER • “A bright new voice in the fantasy genre” (George R. R. Martin), acclaimed author Scott Lynch continues to astound and entertain with his thrillingly inventive, wickedly funny, suspense-filled adventures featuring con artist extraordinaire Locke Lamora. And The Republic of Thieves is his most captivating novel yet. NAMED ONE OF PASTE’S BEST FANTASY BOOKS OF THE DECADE With what should have been the greatest heist of their career gone spectacularly sour, Locke and his trusted partner, Jean, have barely escaped with their lives. Or at least Jean has. But Locke is slowly succumbing to a deadly poison that no alchemist or physiker can cure. Yet just as the end is near, a mysterious Bondsmage offers Locke an opportunity that will either save him or finish him off once and for all. Magi political elections are imminent, and the factions are in need of a pawn. If Locke agrees to play the role, sorcery will be used to purge the venom from his body—though the process will be so excruciating he may well wish for death. Locke is opposed, but two factors cause his will to crumble: Jean’s imploring—and the Bondsmage’s mention of a woman from Locke’s past: Sabetha. She is the love of his life, his equal in skill and wit, and now, his greatest rival. Locke was smitten with Sabetha from his first glimpse of her as a young fellow orphan and thief-in-training. But after a tumultuous courtship, Sabetha broke away. Now they will reunite in yet another clash of wills. For faced with his one and only match in both love and trickery, Locke must choose whether to fight Sabetha—or to woo her. It is a decision on which both their lives may depend. Praise for The Republic of Thieves “Fast paced, fun, and impossible to put down . . . Locke and company remain among the most engaging protagonists in fantasy.”—Publishers Weekly (starred review) “The Republic of Thieves has all the colorful action, witty repartee, and devious scheming that fans of the series have come to expect.”—Wired “A fantasy world unique among its peers . . . If you’re looking for a great new fantasy series this is one you won’t want to miss. . . . In a word: AWESOME!”—SF Revu

When the show was first produced in 1960, at a time when transatlantic musical theatre was dominated by American productions, Oliver! already stood out for its overt Englishness. But in writing Oliver!, librettist and composer Lionel Bart had to reconcile the Englishness of his Dickensian source with the American qualities of the integrated book musical. To do so, he turned to the musical traditions that had defined his upbringing: English music hall, Cockney street singing, and East End Yiddish theatre. This book reconstructs the complicated biography of Bart's play, from its early inception as a pop musical inspired by a marketable image, through its evolution into a sincere Dickensian adaptation that would push English musical theatre to new dramatic heights. The book also addresses Oliver!'s phenomenal reception in its homeland, where audiences responded to the musical's Englishness with a nationalistic fervor. The musical, which has more than fulfilled its promise as one of the most popular English musicals of all time, remains one of the country's most significant shows. Author Marc Napolitano shows how Oliver!'s popularity has ultimately exerted a significant influence on two separate cultural trends. Firstly, Bart's adaptation forever impacted the culture text of Dickens's Oliver Twist; to this day, the general perception of the story and the innumerable allusions to the novel in popular media are colored heavily by the sights, scenes, sounds, and songs from the musical, and virtually every major adaptation of from the 1970s on has responded to Bart's work in some way. Secondly, Oliver! helped to move the English musical forward by establishing a post-war English musical tradition that would eventually pave the way for the global dominance of the West End musical in the 1980s. As such, Napolitano's book promises to be an important book for students and scholars in musical theatre studies as well as to general readers interested in the megamusical.