We The Dead

Locked away in refrigerated vaults, sanitized by gas chambers, and secured within bombproof caverns deep under mountains are America's most prized materials: the ever-expanding collection of records that now accompany each of us from birth to death. This data complex backs up and protects our most vital information against decay and destruction, and yet it binds us to corporate and government institutions whose power is also preserved in its bunkers, infrastructures, and sterilized spaces. We the Dead traces the emergence of the data complex in the early twentieth century and guides readers through its expansion in a series of moments when Americans thought they were living just before the end of the world. Depression-era eugenicists feared racial contamination and the downfall of the white American family, while contemporary technologists seek ever denser and more durable materials for storing data, from microetched metal discs to cryptocurrency keys encoded in synthetic DNA. Artfully written and packed with provocative ideas, this haunting book illuminates the dark places of the data complex and the ways it increasingly blurs the lines between human and machine, biological body and data body, life and digital afterlife.

The first book in The Last War series: a debut epic fantasy full of crunching revolutionary action, twisted magic, and hard choices in dark times. The war is over. The enemy won. Jia's people learned the hard way that there are no second chances. The Egril, their ancient enemy, struck with magic so devastating that Jia's armies were wiped out. Now terror reigns in the streets, and friend turns on friend just to live another day. Somehow Tinnstra - a deserter, a failure, nothing but a coward - survived. She wants no more than to hide from the chaos. But dragged into a desperate plot to retake Jia, surrounded by people willing to do anything to win the fight, this time Tinnstra will need to do more than hide. If Jia is to get a second chance after all, this time she will need to be a hero. With all the grit of Joe Abercrombie, Mark Lawrence and Ed McDonald, this is fantasy with the sharpest of edges. * * * * * * * * * * 'The next Game of Thrones' Glen Cook, author of The Black Company 'Tarantino crossed with David Gemmell' Peter McLean, author of Priest of Bones 'A powerful debut' Gavin Smith, author of The Bastard Legion

"Readers will be swept along with Maggie and Kate as they bamboozle an entire nation, and will feel for Maggie as she debates whether or not to leave the profession...Dianne K. Salerni has written a brilliant debut novel." -TeensReadToo.com Maggie: I began the deception when I was too young to know right from wrong. Only with the passing of time did I come to understand the consequences of my actions. Kate: I do not believe that I have ever intentionally deceived anyone. Maggie has a different understanding of the events that have happened. To her the spirits were always a game. For me they were my life's calling. I have no regrets. It starts as a harmless prank...then one lie quickly grows into another. Soon Kate and Maggie Fox are swept into a dizzying flurry of national attention for their abilities to communicate with the dead. But living a lie is sometimes too much to handle, even if you have the best intentions. Based on a true story, We Hear the Dead reveals how secrets and lies can sometimes lead you to what's real and what's right. And how sometimes talking with the dead is easier than talking with the people around you. What Readers Are Saying: "Masterfully written...a first-class novel." "A crafty, enchanting, mesmerizing read." "Adventure, romance, heartbreak, a bit of history, and a story that will touch you." "Dianne Salerni is masterful." "An enjoyable ride...and one well worth taking." "A great read that had me turning pages long after I should have gone to bed."

The Things We Learn When We’re Dead is about how small decisions can have profound and unintended consequences, but how we can sometimes get a second chance. On the way home from a dinner party, Lorna Love steps into the path of an oncoming car. When she wakes up she is in what appears to be a hospital – but a hospital in which her nurse looks like a young Sean Connery, she is served wine for supper, and everyone avoids her questions. It soon transpires that she is in Heaven, or on HVN, because HVN is a lost, dysfunctional spaceship, and God the aging hippy captain. She seems to be there by accident... or does God have a higher purpose after all? Despite that, The Things We Learn When We’re Dead is neither sci-fi nor fantasy. It is a book about memory and how, if we could remember things slightly differently, would we also be changed? In HVN, Lorna can at first remember nothing. But as her memories return – some good, some bad – she realises that she has decisions to make and that, maybe, she can find a way back home.

**National Bestseller **A New York Times Book Review Editors' Choice **A Globe and Mail Best Book of 2017 **A National Post Best Book of 2017 **A CBC Best Book of 2017 **An Amazon Best Book of 2017 **A Popsugar Best Book of 2017 **A Kobo Best Book of 2017 **An NPR Best Book of 2017 **A Chatelaine Best Book of 2017 **A Buzzfeed Best Book of 2017 **A Book Riot Best Book of 2017 **A Chicago Review of Books Best Book of 2017 **A Paste Best Book of 2017 **An Amazon Best Humour and Entertainment Book of 2017 **Finalist for the 2018 Kobo Emerging Writer Prize **Finalist for the 2018 Stephen Leacock Memorial Medal for Humour **Nominated for the 2017 Goodreads Choice Award For readers of Mindy Kaling, Jenny Lawson and Roxane Gay, a debut collection of fierce and funny essays about growing up the daughter of Indian immigrants in Canada, "a land of ice and casual racism," by the irreverent, hilarious cultural observer and incomparable rising star, Scaachi Koul. In One Day We’ll All Be Dead and None of This Will Matter, Scaachi deploys her razor-sharp humour to share her fears, outrages and mortifying experiences as an outsider growing up in Canada. Her subjects range from shaving her knuckles in grade school, to a shopping trip gone horribly awry, to dealing with internet trolls, to feeling out of place at an Indian wedding (as an Indian woman), to parsing the trajectory of fears and anxieties that pressed upon her immigrant parents and bled down a generation. Alongside these personal stories are pointed observations about life as a woman of colour, where every aspect of her appearance is open for critique, derision or outright scorn. Where strict gender rules bind in both Western and Indian cultures, forcing her to confront questions about gender dynamics, racial tensions, ethnic stereotypes and her father’s creeping mortality—all as she tries to find her feet in the world. With a clear eye and biting wit, Scaachi Koul explores the absurdity of a life steeped in misery. And through these intimate, wise and laugh-out-loud funny dispatches, a portrait of a bright new literary voice emerges.

Exploring Toronto’s history through the stories of its most fascinating and shadowy deaths. If these streets could talk... With morbid tales of war and plague, duels and executions, suicides and séances, Toronto’s past is filled with stories whose endings were anything but peaceful. The Toronto Book of the Dead delves into these: from ancient First Nations burial mounds to the grisly murder of Toronto’s first lighthouse keeper; from the rise and fall of the city’s greatest Victorian baseball star to the final days of the world’s most notorious anarchist. Toronto has witnessed countless lives lived and lost as it grew from a muddy little frontier town into a booming metropolis of concrete and glass. The Toronto Book of the Dead tells the tale of the ever-changing city through the lives and deaths of those who made it their final resting place.

FINALIST FOR THE J. ANTHONY LUKAS BOOK PRIZE NATIONAL BESTSELLER Named One of The Best Books of 2020 by NPR's Fresh Air * Publishers Weekly * Marie Claire * Redbook * Vogue * Kirkus Reviews * Book Riot * Bustle A Recommended Book by The New York Times * The Washington Post * Publisher's Weekly * Kirkus Reviews* Booklist * The Boston Globe * Goodreads * Buzzfeed * Town & Country * Refinery29 * BookRiot * CrimeReads * Glamour * Popsugar * PureWow * Shondaland Dive into a "tour de force of investigative reporting" (Ron Chernow): a "searching, atmospheric and ultimately entrancing" (Patrick Radden Keefe) true crime narrative of an unsolved 1969 murder at Harvard and an "exhilarating and seductive" (Ariel Levy) narrative of obsession and love for a girl who dreamt of rising among men. You have to remember, he reminded me, that Harvard is older than the U.S. government. You have to remember because Harvard doesn't let you forget. 1969: the height of counterculture and the year universities would seek to curb the unruly spectacle of student protest; the winter that Harvard University would begin the tumultuous process of merging with Radcliffe, its all-female sister school; and the year that Jane Britton, an ambitious twenty-three-year-old graduate student in Harvard's Anthropology Department and daughter of Radcliffe Vice President J. Boyd Britton, would be found bludgeoned to death in her Cambridge, Massachusetts apartment. Forty years later, Becky Cooper a curious undergrad, will hear the first whispers of the story. In the first telling the body was nameless. The story was this: a Harvard student had had an affair with her professor, and the professor had murdered her in the Peabody Museum of Archaeology and Ethnology because she'd threatened to talk about the affair. Though the rumor proves false, the story that unfolds, one that Cooper will follow for ten years, is even more complex: a tale of gender inequality in academia, a 'cowboy culture' among empowered male elites, the silencing effect of institutions, and our compulsion to rewrite the stories of female victims. We Keep the Dead Close is a memoir of mirrors, misogyny, and murder. It is at once a rumination on the violence and oppression that rules our revered institutions, a ghost story reflecting one young woman's past onto another's present, and a love story for a girl who was lost to history.

Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.