In this standalone mystery set in the world of the New York Times bestselling Greenglass House by an Edgar Award–winning author, a group of strangers trapped in an otherworldly inn slowly reveal their secrets, proving that nothing is what it seems and there's always more than one side to the story. The rain hasn't stopped for a week, and the twelve guests of the Blue Vein Tavern are trapped by flooded roads and the rising Skidwrack River. Among them are a ship’s captain, tattooed twins, a musician, and a young girl traveling on her own. To pass the time, they begin to tell stories—each a different type of folklore—that eventually reveal more about their own secrets than they intended. As the rain continues to pour down—an uncanny, unnatural amount of rain—the guests begin to realize that the entire city is in danger, and not just from the flood. But they have only their stories, and one another, to save them. Will it be enough? "Will dazzle seasoned Milford fans and kindle new ones." (Publishers Weekly starred review)

In this subtle and candid collection, Lisa Ampleman mixes contemporary elements and historical materials as she speaks back to the literary tradition of courtly love. Instead of bachelor knights bemoaning their allegedly cruel beloveds, Romances emphasizes the voices of female troubadours, along with those of historical figures such as Dante’s wife, Petrarch’s Laura, and Anne Boleyn. Ampleman also incorporates the work of the Italian Renaissance poet Gaspara Stampa, mentioned in Rilke’s Duino Elegies, through a series of adaptations of her verse. Elsewhere, a contemporary sonnet sequence dedicated to Courtney Love shows the 1990s grunge rocker as subject, object, performer, and mother. As her poems reflect on popular romantic ideas about the past, the means by which elegies romanticize the dead, or the conventional romance of a happy marriage, Ampleman addresses a range of romantic entanglements: courtly and commonplace, sentimental and prosaic, toxic and mutual.

The curious paradox of romance is that, throughout its history, this genre has been dismissed as trivial and unintellectual, yet people have never ceased to flock to it with enthusiasm and even fervor. In contemporary contexts, we devour popular romance and fantasy novels like The Lord of the Rings, Harry Potter, and Game of Thrones, reference them in conversations, and create online communities to expound, passionately and intelligently, upon their characters and worlds. But romance is “unrealistic,” critics say, doing readers a disservice by not accurately representing human experiences. It is considered by some to be a distraction from real literature, a distraction from real life, and little more. Yet is it possible that romance is expressing a truth—and a truth unrecognized by realist genres? The Arthurian literature of the Middle Ages, Karen Sullivan argues, consistently ventriloquizes in its pages the criticisms that were being made of romance at the time, and implicitly defends itself against those criticisms. The Danger of Romance shows that the conviction that ordinary reality is the only reality is itself an assumption, and one that can blind those who hold it to the extraordinary phenomena that exist around them. It demonstrates that that which is rare, ephemeral, and inexplicable is no less real than that which is commonplace, long-lasting, and easily accounted for. If romance continues to appeal to audiences today, whether in its Arthurian prototype or in its more recent incarnations, it is because it confirms the perception—or even the hope—of a beauty and truth in the world that realist genres deny.

In which the writings of the authors Thom Yorke and Stanley Donwood are gathered together. This commonplace book includes faxes, notes, fledgling lyrics, sketches, lists of all kinds and scribblings towards nirvana, as were sent between the two authors during the period 1999 to 2000 during the creation of the Radiohead albums Kid A and Amnesiac. This is a document of the creative process and a mirror to the fears, portents and fantasies invoked by the world as its citizens faced a brave new millennium.

Colonel Ridge Zirkander isn’t the model of military professionalism—he has a tendency to say exactly what’s on his mind, and his record has enough demerits to wallpaper the hull of an airship—but as the best fighter pilot in the Iskandian army, he’s used to a little leniency from his superiors. Until he punches the wrong diplomat in the nose and finds himself issued new orders: take command of a remote prison mine in the inhospitable Ice Blades Mountains. Ridge has never been in charge of anything larger than a flier squadron—what’s he supposed to do with a frozen fortress full of murderers and rapists? Not to mention the strange woman who shows up right before he arrives… Sardelle Terushan wakes from three hundred years in a mage stasis shelter, only to realize that she is the last of the Referatu, the sorcerers who once helped protect Iskandia from conquerors. Their subterranean mountain community was blown up in a treacherous sneak attack by soldiers who feared their power. Everyone Sardelle ever knew is dead, and the sentient soulblade she has been bonded to since her youth is buried in the core of the mountain. Further, what remains of her home has been infested by bloodthirsty miners commanded by the descendants of the very soldiers who destroyed her people. Sardelle needs help to reach her soulblade—her only link to her past and her last friend in the world. Her only hope is to pretend she’s one of the prisoners while trying to gain the commander’s trust. But lying isn’t her specialty, especially when the world has changed so much in the intervening centuries, and if Colonel Zirkander figures out who she truly is, he’ll be duty-bound to sentence her to the only acceptable punishment for sorcerers: death.

Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.