White As Milk Red As Blood

This striking, richly illustrated edition of long-lost German fairy tales is not a book for children. It is a book for adults. Or for adults to frighten children into behaving...whichever you prefer. In 2009, a trove of lost fairy tales collected by Franz Xaver von Schönwerth--a 19th-century collector of Bavarian folk tales and contemporary of the Brothers Grimm--was unearthed in a municipal archive in Germany. Unlike the Grimms, who polished the stories they collected, adapting to contemporary tastes, von Schönwerth recorded the stories as they were told, plucking them directly from the living, breathing tree of oral storytelling, retaining their darker themes and sometimes shocking violence. Von Schönwerth published a single volume of these tales in his lifetime, but the vast majority languished and were forgotten over the years, effectively frozen in time until their recent rediscovery. Now, award-winning illustrator Willow Dawson, in collaboration with translator Shelley Tanaka, has brought these long-lost tales unforgettably to life, illuminating with striking woodcut-style illustrations a spectacular collection that will change the way you look at fairy tales forever. Paired with Dawson's arresting artwork, the stories in White as Milk, Red as Blood race with palpable energy through fantasy landscapes darker, bawdier and racier than anything we find in Disney or the Grimms. Following the tradition of illustrated fairy-tale collections, White as Milk, Red as Blood is the very first fully illustrated, full-colour edition of Franz Xaver von Schönwerth's work. It is a timeless tome of enchantment and foreboding: tales--as haunting as they are profound--of powerful princesses, helpless men, lecherous villains, virtuous girls, witches, giants, at least one female serial killer, mer-people, shape-shifters and talking beasts--a kaleidoscope of wonders both familiar and entirely new; rich and strange. Dawson and Tanaka's dark and lively take on von Schönwerth's collected tales will appeal to fans of Mike Mignola's classic fantasy comic-book series Hellboy.

“Moniz sings of Florida, girlhood, family, loss, and the glorious, ecstatic, devastating human body. A gorgeous debut from a wickedly talented new writer.” —Lauren Groff, New York Times–bestselling author Named a Best Book of the Year by The Atlantic, TIME, Washington Independent Review of Books, Kirkus, Chicago Public Library, Library Journal, Literary Hub, Audible, Largehearted Boy, Entropy, Millions, and Tampa Bay Times Set among the cities and suburbs of Florida, each story in Milk Blood Heat delves into the ordinary worlds of young girls, women, and men who find themselves confronted by extraordinary moments of violent personal reckoning. These intimate portraits of people and relationships scour and soothe and blast a light on the nature of family, faith, forgiveness, consumption, and what we may, or may not, owe one another. A thirteen-year-old meditates on her sadness and the difference between herself and her white best friend when an unexpected tragedy occurs; a woman recovering from a miscarriage finds herself unable to let go of her daughter—whose body parts she sees throughout her daily life; a teenager resists her family’s church and is accused of courting the devil; servers at a supper club cater to the insatiable cravings of their wealthy clientele; and two estranged siblings take a road-trip with their father’s ashes and are forced to face the troubling reality of how he continues to shape them. Wise and subversive, spiritual and seductive, Milk Blood Heat forms an ouroboros of stories that bewitch with their truth, announcing the arrival of a bright new literary star. “A fresh feel for the intensity and contradictions of girlhood sings across tough stories.” —Entertainment Weekly

The Girl with the Dragon Tattoo meets Six of Crows—this international bestseller is an edge-of-your-seat thriller that chills to the bone, and not just because of the icy winter setting. Lumikki Andersson has made it a rule to stay out of things that do not involve her. She knows all too well that trouble comes to those who stick their nose where it doesn’t belong. But Lumikki’s rule is put to the test when she uncovers thousands of washed Euro notes hung to dry in her school’s darkroom and three of her classmates with blood on their hands. Literally. A web of lies and deception now has Lumikki on the run from those determined to get the money back—no matter the cost. At the center of the chaos: Polar Bear, the mythical drug lord who has managed to remain anonymous despite his lavish parties and notorious reputation. If Lumikki hopes to make it out alive, she’ll have to uncover the entire operation. Even the cold Finnish winter can’t hide a culprit determined to stain the streets red. “Fans of Nesbø and Larsson won’t be disappointed.” —Publishers Weekly, Starred “This cold, delicate snowflake of a tale sparkles with icy magic.” —Kirkus Reviews, Starred

Hailed as Italy’s The Fault in Our Stars, this Italian bestseller is now available for the first time in English. “I was born on the first day of school, and I grew up and old in just two hundred days . . .” Sixteen-year-old Leo has a way with words, but he doesn’t know it yet. He spends his time texting, polishing soccer maneuvers, and killing time with Niko and Silvia. Until a new teacher arrives and challenges him to give voice to his dreams. And so Leo is inspired to win over the red-haired beauty Beatrice. She doesn’t know Leo exists, but he’s convinced that his dream will come true. When Leo lands in the hospital and learns that Beatrice has been admitted too, his mission to be there for her will send him on a thrilling but heartbreaking journey. He wants to help her but doesn’t know how—and his dream of love will force him to grow up fast. Having already sold over a million copies, Alessandro D’Avenia’s debut novel is considered Italy’s The Fault in Our Stars. Now available in English for the first time, this rich, funny, and heartwarming coming-of-age tale asks us to explore the meaning—and the cost—of friendship, and shows us what happens when suffering bursts into the world of teenagers and renders the world of adults speechless.

Central to this book are Gbigbil women's experiences with different "reproductive interruptions": miscarriages, stillbirths, child deaths, induced abortions, and infertility. Rather than consider these events as inherently dissimilar as women do in Western countries, the Gbigbil women of eastern Cameroon see them all as instances of "wasted wombs" that leave their reproductive trajectories hanging in the balance. The women must navigate this uncertainty while negotiating their social positions, aspirations for the future, and the current workings of their bodies. Providing an intimate look into these processes, Wasted Wombs shows how Gbigbil women constantly shift their interpretations of when a pregnancy starts, what it contains, and what is lost in case of a reproductive interruption, in contrast to Western conceptions of fertility and loss. Depending on the context and on their life aspirations--be it marriage and motherhood, or an educational trajectory and employment, or profitable sexual affairs with so-called "big fish"--women negotiate and manipulate the meanings and effects of reproductive interruptions. Paradoxically, they often do so while portraying themselves as powerless. Wasted Wombs carefully analyzes such tactics in relation to the various social predicaments that emerge around reproductive interruptions, as well as the capricious workings of women's physical bodies.

Pottery has become one of the major categories of artefact that is used in reconstructing the lives and habits of prehistoric people. In these 14 papers, members of the Prehistoric Ceramics Research Group discuss the many ways in which pottery is used to study chronology, behavioural changes, inter-relationships between people and between people and their environment, technology and production, exchange, settlement organisation, cultural expression, style and symbolism.