"After a long career as an aid worker, Sabine Hardt has retreated to her native Germany for a quieter life. But when her American niece Lily disappears while volunteering in Uganda, Sabine must return to places and memories she once thought buried in order to find her. In Uganda, Rose Akulu--haunted by a troubled past with the Lord's Resistance Army--becomes distressed when her lover Ocen vanishes without a trace. Side by side, Sabine and Rose must unravel the tangled threads that tie Lily and Ocen's lives together--ultimately discovering that the truth of their loved ones' disappearance is inescapably entwined to the secrets the two women carry."--
Though the Great War has ended, Bess Crawford finds herself caught in deadly circumstances on a remote Welsh headland in this tenth entry from the acclaimed New York Times bestselling author. The fighting has ended, the Armistice signed, but the war has left wounds that are still agonizingly raw. Battlefield Nurse Bess Crawford has been assigned to a clinic for amputees, and the Welsh patients worry her. She does her best to help them, but it’s clear that they have nothing to go home to, in a valley where only the fit can work in the coal pits. When they are released, she fears that peace will do what war couldn’t—take their lives. Their officer, Captain Williams, writes to describe their despair, and his own at trying to save his men. Bess feels compelled to look into their situation, but the Army and the clinic can do nothing. Requesting leave, she quietly travels to Wales, and that bleak coal mining village, but she is too late. Captain Williams’ sister tells Bess he has left the valley. Bess is afraid he intends to kill himself. She follows him to an isolated, storm-battered peninsula—a harsh and forgotten place where secrets and death go hand in hand. Deserted by her frightened driver, Bess is stranded among strangers suspicious of outsiders. She quickly discovers these villagers are hiding something, and she’s learned too much to be allowed to leave. What’s more, no one in England knows where she is. Why is there no Constable out here? And who is the mysterious Ellen? Captain Williams and his brother’s widow are her only allies, and Bess must take care not to put them at risk as she tries to find answers. But there is a murderer here who is driven to kill again and again. And the next person in his sights is Simon Brandon, searching for Bess and unaware of his danger. . . .
“A heart-tugging and mind-bending exploration of time and possibility.” —School Library Journal “A pleasure to read…full of heart and imagination.” —Kirkus Reviews “Zhang’s story is filled with real-world lessons on compassion and kindness with a sci-fi twist—a skillfully rendered framing device for exploring deeper issues of loss, longing, and acceptance.” —Publishers Weekly “With unwavering hope and focus, and new friendships with unlikely peers, the novel is entertaining and sweet.” —Booklist In the tradition of The Thing About Jellyfish and When You Reach Me, acclaimed author Kat Zhang offers a luminous and heartbreaking novel about a girl who is convinced that an upcoming solar eclipse will bring back her dead mother. One of the happiest memories twelve-year-old Sophia Wallace has is of her tenth birthday. Her mother made her a cake that year—and not a cake from a boxed-mix, but from scratch. She remembers the way the frosting tasted, the way the pink sugar roses dissolved on her tongue. This memory, and a scant few others like it, is all Sophia has of her mother, so she keeps them close. She keeps them secret, too. Because as paltry as these memories are, she shouldn’t have them at all. The truth is, Sophia Wallace’s mother died when she was six years old. But that isn’t how she remembers it. Not always. Sophia has never told anyone about her unusual memories—snapshots of a past that never happened. But everything changes when Sophia’s seventh grade English class gets an assignment to research solar eclipses. She becomes convinced that the upcoming solar eclipse will grant her the opportunity to make her alternate life come true, to enter a world where her mother never died. With the help of two misfit boys, she must figure out a way to bring her mother back to her—before the opportunity is lost forever.
Finalist for the International Booker Prize and the National Book Award A haunting Orwellian novel about the terrors of state surveillance, from the acclaimed author of The Housekeeper and the Professor. On an unnamed island, objects are disappearing: first hats, then ribbons, birds, roses. . . . Most of the inhabitants are oblivious to these changes, while those few able to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young writer discovers that her editor is in danger, she concocts a plan to hide him beneath her f loorboards, and together they cling to her writing as the last way of preserving the past. Powerful and provocative, The Memory Police is a stunning novel about the trauma of loss. ONE OF THE BEST BOOKS OF THE YEAR THE NEW YORK TIMES * THE WASHINGTON POST * TIME * CHICAGO TRIBUNE * THE GUARDIAN * ESQUIRE * THE DALLAS MORNING NEWS * FINANCIAL TIMES * LIBRARY JOURNAL * THE A.V. CLUB * KIRKUS REVIEWS * LITERARY HUB American Book Award winner
“Moving.” —Booklist (starred review) At Hatters Museum of the Wide Wide World, where the animals never age but time takes its toll, one woman must find the courage to overcome the greatest loss of her life. Four years after her husband Richard’s death, Cate Morris is let go from her teaching job and unable to pay rent on the London flat she shares with her son, Leo. With nowhere else to turn, they pack up and venture to Richard’s ancestral Victorian museum in the small town of Crouch-on-Sea. Despite growing pains and a grouchy caretaker, Cate begins to fall in love with the quirky taxidermy exhibits and sprawling grounds, and she makes it her mission to revive them. But threats from both inside and outside the museum derail her plans and send her spiraling into self-doubt. As Cate becomes more invested in Hatters, she must finally confront the reality of Richard’s death—and the role she played in it—in order to reimagine her future. Perfect for fans of Katherine Center and Evvie Drake Starts Over.
The Good Place is a fantasy-comedy TV show about the afterlife. Eleanor dies and finds herself in the Good Place, which she understands must be mistake, since she has been anything but good. In the surprise twist ending to Season One, it is revealed that this is really the Bad Place, but the demon who planned it was frustrated, because the characters didn’t torture each other mentally as planned, but managed to learn how to live together. In ,i>The Good Place and Philosophy, twenty-one philosophers analyze different aspects of the ethical and metaphysical issues raised in the show, including: ● Indefinitely long punishment can only be justified as a method of ultimately improving vicious characters, not as retribution. ● Can individuals retain their identity after hundreds of reboots? ● Comparing Hinduism with The Good Place, we can conclude that Hinduism gets things five percent correct. ● Looking at all the events in the show, it follows that humans don’t have free will, and so people are being punished and rewarded unjustly. ● Is it a problem that the show depicts torture as hilarious? This problem can be resolved by considering the limited perspective of humans, compared with the eternal perspective of the demons. ● The Good Place implies that even demons can develop morally. ● The only way to explain how the characters remain the same people after death is to suppose that their actual bodies are transported to the afterlife. ● Since Chidi knows all the moral theories but can never decide what to do, it must follow that there is something missing in all these theories. ● The show depicts an afterlife which is bureaucratic, therefore unchangeable, therefore deeply unjust. ● Eleanor acts on instinct, without thinking, whereas Chidi tries to think everything through and never gets around to acting; together these two characters can truly act morally. ● The Good Place shows us that authenticity means living for others. ● The Good Place is based on Sartre’s play No Exit, with its famous line “Hell is other people,” but in fact both No Exit and The Good Place inform us that human relationships can redeem us. ● In The Good Place, everything the humans do is impermanent since it can be rebooted, so humans cannot accomplish anything good. ● Kant’s moral precepts are supposed to be universal, but The Good Place shows us it can be right to lie to demons. ● The show raises the question whether we can ever be good except by being part of a virtuous community.
Ella became a goal-driven woman before it was fashionable, or even acceptable. In spite of her mother's constant admonitions, Ella rejects the expectations put upon the "young ladies" of the 1950s. Her life will be decided only by her own choices, and she knows exactly what choices to make. But all that she has mentally built for her life comes to a swift end when a handsome but off-putting stranger arrives, and stubbornly refuses to leave. Fifty years later, Backus hasn't changed much. Jane hopes to fit in, but her bustling world in the Twin Cities was far from sufficient preparation for life in this seemingly quiet town. Life in Backus is not as uneventful as it seems, and as Jane begins researching the town's silenced past, she discovers that love, mysteries, and faith cross generations.
From the frozen landscapes of the Antarctic to the haunted houses of childhood, the memory of places we experience is fundamental to a sense of self. Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, The Memory of Place charts the memorial landscape that is written into the body and its experience of the world. Dylan Trigg’s The Memory of Place offers a lively and original intervention into contemporary debates within “place studies,” an interdisciplinary field at the intersection of philosophy, geography, architecture, urban design, and environmental studies. Through a series of provocative investigations, Trigg analyzes monuments in the representation of public memory; “transitional” contexts, such as airports and highway rest stops; and the “ruins” of both memory and place in sites such as Auschwitz. While developing these original analyses, Trigg engages in thoughtful and innovative ways with the philosophical and literary tradition, from Gaston Bachelard to Pierre Nora, H. P. Lovecraft to Martin Heidegger. Breathing a strange new life into phenomenology, The Memory of Place argues that the eerie disquiet of the uncanny is at the core of the remembering body, and thus of ourselves. The result is a compelling and novel rethinking of memory and place that should spark new conversations across the field of place studies. Edward S. Casey, Distinguished Professor of Philosophy at Stony Brook University and widely recognized as the leading scholar on phenomenology of place, calls The Memory of Place “genuinely unique and a signal addition to phenomenological literature. It fills a significant gap, and it does so with eloquence and force.” He predicts that Trigg’s book will be “immediately recognized as a major original work in phenomenology.”
'If we want to understand what has been lost to time, there is no way other than through the exercise of imagination ... imagination applied with delicate rather than broad strokes'. So wrote the award winning Japanese author Kyoko Nakajima of her story, Things Remembered and Things Forgotten, a piece that illuminates, as if by throwing a switch, the layers of wartime devastation that lie just below the surface of Tokyo's insistently modern culture. The ten acclaimed stories in this collection are pervaded by an air of Japanese ghostliness. In beautifully crafted and deceptively light prose, Nakajima portrays men and women beset by cultural amnesia and unaware of how haunted they are - by fragmented memories of war and occupation, by fading traditions, by buildings lost to firestorms and bulldozers, by the spirits of their recent past.
A mind-bending YA novel about a world where everyone has a bit of magic in them—but some magic is being used to change the world in unspeakable ways Vera has a nagging feeling that she’s forgetting something. Not her keys or her homework—something bigger. Or someone. When she discovers her best friend Riven is experiencing the same strange feeling, they set out on a mission to uncover what’s going on. Everyone in Vera's world has a special ability—a little bit of magic that helps them through the day. Perhaps someone’s ability is interfering with their memory? Or is something altering their very reality? Vera and Riven intend to fix it and get back whatever or whomever they’ve lost. But how do you find the truth when you can’t even remember what you’re looking for in the first place? The Forgotten Memories of Vera Glass is a cleverly constructed, heartbreaking, and compelling contemporary YA novel with a slight fantasy twist about memory, love, grief, and the invisible bonds that tie us to each other.
