The Book Of Stolen Time

From New York Times–bestselling author Dashka Slater comes the whimsical and witty sequel to The Book of Fatal Errors! Rufus may have successfully sent the feylings home to the Green World, but he still has one pesky feyling under his wing: Nettle, his sometimes enemy, now mentor. Nettle is in charge of helping Rufus and his cousin Abigail protect Feylawn, their grandfather’s magical and mysterious homestead. But this difficult task becomes even more dangerous when a leopard appears in the woods without warning; strange, waterlogged women arrive to warn of impending doom; and a goblin begins digging his way back to Earth, hungry for revenge. Meanwhile, Rufus’s father is intent on selling Feylawn to the highest bidder. Can Rufus and Abigail save Feylawn and its magic? Or will they have to say goodbye to the feylings forever? In The Book of Stolen Time, our favorite heroes are back! And magic, mischief, and adventure abound.

Charlotte Schleswig, the delightful narrator of Liz Jensen's latest novel, supports herself and the lumpen Fru Schleswig (who may or may not be her mother) as a prostitute in 1890s Copenhagen. While she is no small success at the trade, she leaps at a new job opportunity for herself and Fru Schleswig, as cleaning ladies for the wealthy widow Krak. But mysteries abound at Fru Krak's dark old mansion. The basement appears to be haunted, townspeople claim to have seen the dead Professor Krak walking the streets as a ghost, and there are stories of desperate souls who paid the professor a visit and never emerged. In fact, as Charlotte will discover, there is a simple explanation for all this: the basement is home to a time machine. When their cunning investigations land them in trouble, Charlotte and Fru Schleswig find themselves catapulted through time and space to modern-day London, and there their adventures truly begin. With the minxy, intrepid Charlotte, Liz Jensen introduces a heroine every bit as memorable as Louis Drax. And with My Dirty Little Book of Stolen Time, she delivers yet another outlandishly entertaining novel, in which the seemingly insurmountable obstacle of spacetime proves no match for human ingenuity and earthly passion.

“Endearing, exciting, and very clever, Danielle Rollins' Stolen Time is the kind of time-travel story I'm always on the lookout for. I know I can't really speak for him, but I feel like Doc Brown would be onboard with this one.”—Kendare Blake, #1 New York Times bestselling author of the Three Dark Crowns series “The hauntingly evocative prose seduced me, the compellingly nuanced characters captivated me, and the twisting storyline ensnared my thoughts in an infinite spiral that refused to release me until the final word.”—Romina Russell, New York Times bestselling author of the Zodiac series Seattle, 1913 Dorothy spent her life learning the art of the con. But after meeting a stranger and stowing away on his peculiar aircraft, she wakes up in a chilling version of the world she left behind—and for the first time in her life, realizes she’s in way over her head. New Seattle, 2077 If there was ever a girl who was trouble, it was one who snuck on board Ash’s time machine wearing a wedding gown—and the last thing he needs is trouble if he wants to prevent his terrifying visions of the future from coming true.

Sunny Jacobs was only 27 years old when she and her partner, Jesse, were wrongly sentenced to death by the Florida courts for the murder of two state policemen in 1976. This book demonstrates the human capacity for resilience and generosity of spirit. It focuses not on the horrors Sunny endured but on the ways in which she triumphed.

Originally published: London: Usborne Publishing Ltd, 2021.

Award-winning author Dashka Slater spins a tale of friendship, magic, and eternal life in The Book of Fatal Errors, an evocative and witty middle-grade fantasy. Rufus doesn’t just make mistakes – he makes fatal errors. Clumsy and awkward, he feels entrapped by his teasing classmates and their constant laughter. But now it is summer. Rufus is free. He roams the wildlands of his grandfather’s mysterious homestead, blissfully unaware of the danger up ahead. And there is much danger. Rufus and his snooty cousin Abigail soon become entangled in the tantalizing world of the feylings, mischievous fairly-like creatures desperate to find their way home. In helping the feylings, Rufus tumbles down a dark path rich with age-old secrets and difficult truths. Any move he makes might be his final fatal error. Or perhaps, his most spectacular beginning.

Tracing the complex history of tempo rubato, this book identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative, Hudson ranges widely over western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching the rubato in the music of nineteenth-century composers like Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky.

In 1956 Harry Belafonte’s Calypso became the first LP to sell more than a million copies. For a few fleeting months, calypso music was the top-selling genre in the US—it even threatened to supplant rock and roll. Stolen Time provides a vivid cultural history of this moment and outlines a new framework—black fad performance—for understanding race, performance, and mass culture in the twentieth century United States. Vogel situates the calypso craze within a cycle of cultural appropriation, including the ragtime craze of 1890s and the Negro vogue of the 1920s, that encapsulates the culture of the Jim Crow era. He follows the fad as it moves defiantly away from any attempt at authenticity and shamelessly embraces calypso kitsch. Although white calypso performers were indeed complicit in a kind of imperialist theft of Trinidadian music and dance, Vogel argues, black calypso craze performers enacted a different, and subtly subversive, kind of theft. They appropriated not Caribbean culture itself, but the US version of it—and in so doing, they mocked American notions of racial authenticity. From musical recordings, nightclub acts, and television broadcasts to Broadway musicals, film, and modern dance, he shows how performers seized the ephemeral opportunities of the fad to comment on black cultural history and even question the meaning of race itself.