SPFBO 2018 Semi-Finalist. Lose yourself in this fusion of Asian and Western fantasy, which critics extol as "wonderfully opulent," "Breathtaking," and "Unique." Only the lost magic of Dragon Songs can save the world. Only an awkward girl with the perfect voice can rediscover it. The Dragon Singers of old summoned typhoons and routed armies, liberating mankind from the orcs before fading into legend. Now, with the world again facing a new cataclysm, the power of music stirs in Kaiya, an a naïve misfit with the perfect voice. Without a master to guide her, she must rely on Hardeep, a disgraced foreign paladin, to help awaken her latent magic. His motives might not be entirely noble. When he leads her to the fabled Dragon Scale Lute, which only a Dragon Singer can wield, it is up to Black Lotus Clan to intervene. Because the instrument's fell power can save the world... Or destroy it.
In this incendiary new work, the controversial author and speaker Peter Rollins proclaims that the Christian faith is not primarily concerned with questions regarding life after death but with the possibility of life before death. In order to unearth this truth, Rollins prescribes a radical and wholesale critique of contemporary Christianity that he calls pyro-theology. It is only as we submit our spiritual practices, religious rituals, and dogmatic affirmations to the flames of fearless interrogation that we come into contact with the reality that Christianity is in the business of transforming our world rather than offering a way of interpreting or escaping it. Belief in the Resurrection means but one thing: Participation in an Insurrection. "What Pete does in this book is take you to the edge of a cliff where you can see how high you are and how far you would fall if you lost your footing. And just when most writers would kindly pull you back from edge, he pushes you off, and you find yourself without any solid footing, disoriented, and in a bit of a panic…until you realize that your fall is in fact, a form of flying. And it's thrilling." --Rob Bell, author of Love Wins and Velvet Elvis "While others labor to save the Church as they know it, Peter Rollins takes an ax to the roots of the tree. Those who have enjoyed its shade will want to stop him, but his strokes are so clean and true that his motive soon becomes clear: this man trusts the way of death and resurrection so much that he has become fearless of religion." --Barbara Brown Taylor, author of Leaving Church and An Altar in the World “Rollins writes and thinks like a new Bonhoeffer, crucifying the trappings of religion in order to lay bare a radical, religionless and insurrectional Christianity. A brilliant new voice—an activist, a storyteller and a theologian all in one—and not a moment too soon.” --John D. Caputo, Thomas J. Watson Professor of Religion Emeritus, Syracuse University “What does it mean when the Son of God cries out, ‘My God, My God, why have you forsaken me’? Brilliantly, candidly, and faithfully, Rollins wrestles here with that question. You may not agree with his answers and conclusions, but you owe it to yourself and to the Church at large to read what he says.” --Phyllis Tickle, author, The Great Emergence "Excellent thinking and excellent writing! I hope this fine book receives the broad reading it deserves. It will change lives, and our understanding of what religion is all about!" -- Rohr,O.F.M., Center for Action and Contemplation; Albuquerque, New Mexico
On a late September day in 1837, shortly after sunset, a group of six slaves marched into the small Cuban village of Güira de Melena, beating African drums and singing loudly. Alarmed, villagers rushed into the streets with machetes, sabers, and spears, ready to take action against the disobedient slaves. Yet this makeshift parade never evolved into the violent rebellion the villagers expected. Though the slaves who lived on Cuban coffee and sugar plantations sometimes defied their captors by orchestrating fierce uprisings and committing murder and suicide, they also resisted in less overt ways—by running away, feigning sickness, breaking tools, and by maintaining their own cultures. In Seeds of Insurrection, Manuel Barcia examines many largely overlooked ways in which African and Creole slaves in Cuba defied domination in the first half of the nineteenth century. Ethnic and geographic origins, as well as slaves’ personal experiences, affected their resistance to bondage. Dividing resistance into two broad types—violent and nonviolent—Barcia examines when and why the slaves chose certain forms. Creole slaves grew up in Cuba, for example, so they learned both the language of their ancestors and Spanish, and they came to understand their Spanish masters as few African-born slaves ever could. Consequently, they cleverly used the few rights colonial laws offered them to their advantage. African-born slaves, by contrast, carried with them their memories from home, their religious beliefs, jokes, and songs, and they dealt with enslavement by incorporating this cultural heritage into their everyday activities. Barcia demonstrates the ways in which the slaves made use of the privacy of their huts and barracks and the lack of surveillance in the fields to voice their ideas and opinions—through song, religion, gossip, folktales, and jokes—within an acceptable degree of safety. Relying primarily on transcripts of local and central court proceedings involving slaves, free people of color, slave owners, and witnesses, Barcia reveals the slaves’ view of their world. He also explores the forms of domination practiced by colonial authorities, plantation masters, and overseers, gleaning insight from innovative sources, including medical reports and diaries of rancheadores, as well as public and private correspondence, newspapers, and the contributions of contemporary scholars. In Seeds of Insurrection, Barcia expands the definition of resistance and adds an invaluable dimension to the understanding of slavery in the Americas.
The Rosewater Insurrection continues the award-winning science fiction trilogy by one of science fiction's most engaging voices. All is quiet in the city of Rosewater as it expands on the back of the gargantuan alien Wormwood. Those who know the truth of the invasion keep the secret. The government agent Aminat, the lover of the retired sensitive Kaaro, is at the forefront of the cold, silent conflict. She must capture a woman who is the key to the survival of the human race. But Aminat is stymied by the machinations of the Mayor of Rosewater and the emergence of an old enemy of Wormwood. Innovative and genre-bending, Tade Thompson's ambitious Afrofuturist series is perfect for fans of Jeff Vandermeer, N. K. Jemisin, and Ann Leckie. Praise for The Wormwood Trilogy: "Smart. Gripping. Fabulous!" —Ann Leckie, award winning-author of Ancillary Justice "Mesmerising. There are echoes of Neuromancer and Arrival in here, but this astonishing debut is beholden to no one." —M. R. Carey, bestselling author of The Girl with All the Gifts "A magnificent tour de force, skillfully written and full of original and disturbing ideas." —Adrian Tchaikovsky, Arthur C. Clarke Award-winning author of Children of Time The Wormwood Trilogy Rosewater The Rosewater Insurrection The Rosewater Redemption
Only an orphan half-elf spy can avert a rebellion before it starts. Jie’s superior senses have made her the perfect lookout. Now, as the adopted daughter of the Black Lotus Clanmaster, she wants to prove her pointed ears aren’t a liability when she’s tasked to infiltrate a rebel lord’s castle. In this prequel novelette to Songs of Insurrection, Jie must decide between her duty to the emperor and her sense of compassion toward the downtrodden. No matter her choice, it will have explosive consequences for her, the realm, and the upcoming war.
Despite his importance and influence, jazz musician, educator, and community leader Horace Tapscott remains relatively unknown to most Americans. In Songs of the Unsung Tapscott shares his life story, recalling his childhood in Houston, moving with his family to Los Angeles in 1943, learning music, and his early professional career. He describes forming the Pan Afrikan Peoples Arkestra in 1961 and later the Union of God's Musicians and Artists Ascension to preserve African American music and serve the community. Tapscott also recounts his interactions with the Black Panthers and law enforcement, the Watts riots, his work in Hollywood movie studios, and stories about his famous musician-activist friends. Songs of the Unsung is the captivating story of one of America’s most unassuming heroes as well as the story of L.A.'s cultural and political evolution over the last half of the twentieth century.
This is a story about love, but not the kind of love you think. You'll see... In the lush and magical Pacific Northwest live two best friends who grew up like sisters: charismatic, mercurial, and beautiful Aurora, and the devoted, watchful narrator. Each of them is incomplete without the other. But their unbreakable bond is challenged when a mysterious and gifted musician named Jack comes between them. His music is like nothing I have ever heard. It is like the ocean surging, the wind that blows across the open water, the far call of gulls. Suddenly, each girl must decide what matters most: friendship, or love. What both girls don't know is that the stakes are even higher than either of them could have imagined. They're not the only ones who have noticed Jack's gift; his music has awakened an ancient evil—and a world both above and below which may not be mythical at all. We have paved over the ancient world but that does not mean we have erased it. The real and the mystical; the romantic and the heartbreaking all begin to swirl together in All Our Pretty Songs, Sarah McCarry's brilliant debut, carrying the two on journey that is both enthralling and terrifying. And it's up to the narrator to protect the people she loves—if she can.
A call to arms by a group of French intellectuals that rejects leftist reform and aligns itself with younger, wilder forms of resistance. Thirty years of “crisis,” mass unemployment, and flagging growth, and they still want us to believe in the economy... We have to see that the economy is itself the crisis. It's not that there's not enough work, it's that there is too much of it. The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord—and with comparable elegance—it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more adequately described the group as “the name given to a collective voice bent on denouncing contemporary cynicism and reality.” The Coming Insurrection is a strategic prescription for an emergent war-machine capable of “spreading anarchy and live communism.” Written in the wake of the riots that erupted throughout the Paris suburbs in the fall of 2005 and presaging more recent riots and general strikes in France and Greece, The Coming Insurrection articulates a rejection of the official Left and its reformist agenda, aligning itself instead with the younger, wilder forms of resistance that have emerged in Europe around recent struggles against immigration control and the “war on terror.” Hot-wired to the movement of '77 in Italy, its preferred historical reference point, The Coming Insurrection formulates an ethics that takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized life forms. It is a philosophical statement that addresses the growing number of those—in France, in the United States, and elsewhere—who refuse the idea that theory, politics, and life are separate realms.
