The world cries for Order, but she’s igniting a revolution. One hundred years before, the Great Sickness reduced the world to three cities. Now, Asphodel no longer lingers underground, and the Starbright Maiden of Justice has returned. Everyone has faith in Astrea’s ability to save the world - but only she knows the dark truth about her powers. Trea teams with Stian, Lexan, and Zarea to enlist the help of Lord Hadeon of Tartarus. They hope Hadeon will aid in attacking Asphodel’s First Leader Keirna, but the Destroyer usually takes lives, not sides. As Trea discovers life outside of Asphodel, she begins to wonder whether the remaining world is too broken to save - especially since the price of freedom just might be her own life.

The people need Justice, but she’s not listening. One hundred years before, the Great Sickness reduced the world to three cities. Now the community of Asphodel is trapped underground, waiting for the prophesied maiden of Justice to return and save them from their Fates. Sixteen-year-old Astrea is supposed to be this savior – too bad for them she isn’t a believer. Trea fights against her false destiny: she rebels against her family and friends, then refuses her arranged marriage to the charming but deceitful Lexan. Learning her life is in danger, Trea is forced to trust Lexan – until she discovers a power she never knew she had, and one he already knew he did. As betrayal closes every door, Trea decides she must submit to her stars and accept her fate. Then a handsome stranger offers her an unexpected escape and the chance to create her own destiny.

Novel Creatures takes a close look at the expanding interest in animals in modern fiction and argues that the novels of this time reveal a dramatic shift in conceptions of "creatureliness." Scholars have turned to the term "creaturely" recently to describe shared aspects of human and animal experience, thus moving beyond work that primarily attends to distinctions between the human and the animal. Carrying forward this recent scholarship, Novel Creatures argues that creatureliness has been an intensely millennial preoccupation, but in two contrasting forms—one leading up to the turn of the century, the other after the tragic events of 9/11.

From the imaginations of twenty authors of dystopian and post-apocalyptic fiction comes PREP FOR DOOM - an integrated collection of short stories that tell the tale of a single catastrophe as experienced by many characters, some of whom will cross paths. What begins with a seemingly innocuous traffic accident soon spirals into a global pandemic. The release of Airborne Viral Hemorrhagic Fever upon New York City’s unsuspecting populace brings bloody suffering within hours, death within a day, and spreads worldwide within a month. An online community called Prep For Doom has risen to the top of a recent doomsday preparation movement. Some have written them off as crazy while others couldn’t be more serious about the safety the preppers could provide in a global disaster. But when AVHF strikes, their preparation may not be enough to save them. From authors Laura Albins, ER Arroyo, Amy Bartelloni, Brea Behn, Casey L. Bond, TK Carter, Kate Corcino, Harlow C. Fallon, Kelsey D. Garmendia, Caroline A. Gill, DelSheree Gladden, John Gregory Hancock, Casey Hays, Kate L. Mary, Jon Messenger, Monica Enderle Pierce, Cameo Renae, Hilary Thompson, Yvonne Ventresca, and Megan White.

Engaging a diverse range of contemporary anglophone literature from authors of the Asian, Middle Eastern and Caribbean diasporas, this book explores how such works turn to spirit forces, spirit realms and spirit beings - were-animals, mystical birds, and snake goddesses - as positive forces that assert perceptual dimensions beyond those of the human, and present a vision of Earth as agentive and animate. With previous scholarship downplaying these aspects of modern works as uncanny hauntings or symptoms of capitalism's or anthropocentrism's destructiveness, or within a blanket rubric of 'magical realism', Hilary Thompson rejects this partitioning of them as products of an exotic East or global South. By contrast, this book builds a new critical framework for analysis of worldly spirits, drawing on anthropological discussions of animism, the newly recovered 1930s boundary-crossing art movement Dimensionism, and multispecies theories of animals' diverse perceptual worlds. Taking stock of novels published from 2018-2020 by such writers as Amitav Ghosh, André Alexis, Yangsze Choo, Azareen Van der Vliet Oloomi, Zeyn Joukhadar, and Tanya Tagaq, Thompson illuminates how these works extend an ecological call to decentre the human and align with multidimensional theories of art and literature to provide ways to read for rather than reduce the extra-human dimensions emerging in contemporary fiction. A refreshing rejection of ecological apocalypticism, this book unsettles typical conceptualizations of both anglophone and Anthropocene literatures by invoking European art theory, philosophy, and non-Western ideas on animism and spirits to put forward perceptions of the extra-human as a form of dealing with the many uncertainties of today's different crises.

Charting the intersection of aesthetic representation and the material conditions of urban space, The City Since 9/11 posits that the contemporary metropolis provides a significant context for reassessing theoretical concerns related to narrative, identity, home, and personal precarity. In the years since the September 11 attacks, writers and filmmakers have explored urban spaces as contested sites—shaped by the prevailing discourses of neoliberalism, homeland security, and the war on terror, but also haunted by an absence in the landscape that registers loss and prefigures future menace. In works of literature, film, and television, the city emerges as a paradoxical space of permanence and vulnerability and a convergence point for anxieties about globalization, structural inequality, and apocalyptic violence. Building on previous scholarship addressing trauma and the spectacle of terror, the contributors also draw upon works of philosophy, urban studies, and postmodern geography to theorize how literary and visual representations expose the persistent conflicts that arise as cities rebuild in the shadow of past ruins. Their essays advance new lines of argument that clarify art’s role in contemporary debates about spatial practices, gentrification, cosmopolitanism, memory and history, nostalgia, the uncanny and the abject, postmodern virtuality, the politics of realism, and the economic and social life of cities. The book offers fresh readings of familiar post-9/11 novels, such as Jonathan Safran Foer’s Extremely Loud & Incredibly Close, but it also considers works by Teju Cole, Joseph O’Neill, Silver Krieger, Colum McCann, Ronald Sukenick, Jonathan Lethem, Thomas Pynchon, Colson Whitehead, Paul Auster, William Gibson, Amitav Ghosh, and Katherine Boo. In addition, The City Since 9/11 includes essays on the films Children of Men, Hugo, and the adaptation of Extremely Loud & Incredibly Close, chapters on the television series The Bridge, The Killing, and The Wire, and an analysis of Michael Arad’s Reflecting Absence and the 9/11 Memorial.