The Voices Of The Dead

Detroit, 1971. Harry Levin, scrap metal dealer and holocaust survivor, learns that his daughter has been killed in a car accident. Travelling to Washington DC, he's told by Detective Taggart that the German diplomat, who was drunk, has been released and afforded immunity; he will never face charges. So Harry is left with only one option - to discover the identity of this man, follow him back to Munich and hunt him down. The first of a two-hander, Peter Leonard's new novel is a classic cat-and-mouse thriller. Told with swagger, brutal humour and not a little violence, it follows a good man who is forced to return to the horrors of his past.

Swept up in the maelstrom of Stalin’s Great Terror of 1937-1938, nearly a million people died. Most were ordinary citizens who left no records and as a result have been completely forgotten. This book is the first to attempt to retrieve their stories and reconstruct their lives, drawing upon recently declassified archives of the former Soviet Secret Police in Kiev. Hiroaki Kuromiya uncovers in the archives the hushed voices of the condemned, and he chronicles the lives of dozens of individuals who shared the same dehumanizing fate: all were falsely arrested, executed, and dumped in mass graves. Kuromiya investigates the truth behind the fabricated records, filling in at least some of the details of the lives and deaths of ballerinas, priests, beggars, teachers, peasants, workers, soldiers, pensioners, homemakers, fugitives, peddlers, ethnic Russians, Ukrainians, Poles, Germans, Koreans, Jews, and others. In recounting the extraordinary stories gleaned from the secret files, Kuromiya not only commemorates the dead and forgotten but also proposes a new interpretation of Soviet society that provides useful insights into the enigma of Stalinist terror.

New York Times bestselling author Katherine Arden returns with another creepy, spine-tingling adventure in the critically acclaimed Small Spaces Quartet. Having survived sinister scarecrows and the malevolent smiling man in Small Spaces, newly minted best friends Ollie, Coco, and Brian are ready to spend a relaxing winter break skiing together with their parents at Mount Hemlock Resort. But when a snowstorm sets in, causing the power to flicker out and the cold to creep closer and closer, the three are forced to settle for hot chocolate and board games by the fire. Ollie, Coco, and Brian are determined to make the best of being snowed in, but odd things keep happening. Coco is convinced she has seen a ghost, and Ollie is having nightmares about frostbitten girls pleading for help. Then Mr. Voland, a mysterious ghost hunter, arrives in the midst of the storm to investigate the hauntings at Hemlock Lodge. Ollie, Coco, and Brian want to trust him, but Ollie's watch, which once saved them from the smiling man, has a new cautionary message: BEWARE. With Mr. Voland's help, Ollie, Coco, and Brian reach out to the dead voices at Mount Hemlock. Maybe the ghosts need their help--or maybe not all ghosts can or should be trusted. Dead Voices is a terrifying follow-up to Small Spaces with thrills and chills galore and the captive foreboding of a classic ghost story.

Can a bump on the head cause someone to speak with a different accent? Can animals, aliens, and objects talk? Can we communicate with gods, demons, and the dead? Language Myths, Mysteries and Magic is a curio shop full of colourful superstitions, folklore, and legends about language.

An incisive observation of the traumas of loss and marginalization brought to the surface by the 2011 Tōhoku Disaster

For many of us, one of the most important ways of coping with the death of a close relative is talking about them, telling all who will listen what they meant to us. Yet the Gypsies of central France, the Manuš, not only do not speak of their dead, they burn or discard the deceased's belongings, refrain from eating the dead person's favorite foods, and avoid camping in the place where they died. In Gypsy World, Patrick Williams argues that these customs are at the center of how Manuš see the world and their place in it. The Manuš inhabit a world created by the "Gadzos" (non-Gypsies), who frequently limit or even prohibit Manuš movements within it. To claim this world for themselves, the Manuš employ a principle of cosmological subtraction: just as the dead seem to be absent from Manuš society, argues Williams, so too do the Manuš absent themselves from Gadzo society—and in so doing they assert and preserve their own separate culture and identity. Anyone interested in Gypsies, death rituals, or the formation of culture will enjoy this fascinating and sensitive ethnography.

Gerald Vizenor gives life to traditional tribal stories by presenting them in a new perspective: he challenges the idyllic perception of rural life, offering in its stead an unusual vision of survival in the cities-the sanctuaries for humans and animals. It is a tribal vision, a quest for liberation from forces that would deny the full realization of human possibilities. In this modern world his characters insist upon survival through an imaginative affirmation of the self. In Dead Voices Vizenor, using tales drawn from traditional tribal stories, illuminates the centuries of conflict between American Indians and Europeans, or "wordies." Bagese, a tribal woman transformed into a bear, has discovered a new urban world, and in a cycle of tales she describes this world from the perspective of animals-fleas, squirrels, mantis, crows, beavers, and finally Trickster, Vizenor’s central and unifying figure. The stories reveal unpleasant aspects of the dominate culture and American Indian culture such as the fur trade, the educational system, tribal gambling, reservation life, and in each the animals, who represent crossbloods, connect with their tribal traditions, often in comic fashion. As in his other fiction, Vizenor upsets our ideas of what fiction should be. His plot is fantastic; his story line is a roller-coaster ride requiring that we accept the idea of transformation, a key element in all his work. Unlike other Indian novelists, who use the novel as a means of cultural recovery, Vizenor finds the crossblood a cause for celebration.