Weitere Bücher, die Sie mögen werden

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  The Lost Sanjak

  Saki Saki

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  "The Lost Sanjak" is a thought-provoking tale in which a man, facing condemnation for his own murder, claims to be a victim of his own education. His unusual defense posits that his lack of specialization and the pressures of societal expectations led him to a tragic end, challenging the conventional notions of self-determination and responsibility.

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  Imperial March - A Cultivation...

  Tao Wong

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  The march to the throne is littered with the bodies of the great and small in equal measure  
  Born an Imperial Prince, Qu Yuan always knew his options were to strive for the throne or escape. When he’s forced to put his escape plan into action too early, he’s forced out of the imperial palace into the countryside where the war for the throne rages.  
  Walking blood-soaked fields and burnt out villages, Qu Yuan will be forced to ask a simple question.  
  Is his search for immortality more important than the lives of his kingdom?

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  Dark Dignum - From their pens to...

  Bernard Capes

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  Bernard Edward Joseph Capes was born on the 30th August 1854 in London.  He was one of 11 children. 
  His early work was as a journalist and this developed into writing many short stories for the periodicals of the time including Blackwood's, Cassell's, Cornhill Magazine, Illustrated London News, Macmillan's Magazine, Mall Magazine, Pearson's Magazine, The Idler, and The Queen. 
  It took him many years to decide that writing full-time could be a sustainable career path.  His initial success came with ‘The Mill of Silence’.  As well as being published it garnered second prize at a competition sponsored by the Chicago Record.  He exceeded that by winning it the following year with ‘The Lake of Wine’.   
  Capes quickly became both prolific and popular.  As well as his stories and articles for the periodicals he wrote around 40 volumes across novels, poetry, history as well as romance and mystery novels. 
  Bernard Capes died on 2nd November 1918 in the flu epidemic.

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  The Viewing Party

  Yong Shu Hoong

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  Singapore Literature Prize winner Yong Shu Hoong’s latest book features more than just poetry. There is also a ghostly tale at its core, complete with prose poems and micro fiction of exactly 100 words each, as well as annotated excerpts from an abandoned work. 
   
  In this viewing party, readers are invited to take a peek into the domain of death and cinema. You are part of a mob of dispassionate onlookers. Sometimes, you get to play the voyeuristic judge. 
   
  Winner of the 2014 Singapore Literature Prize for English Poetry 
   
  “There’s a warm easiness to Yong’s voice that’s balanced by a sharpness of insight. He cuts through the layers of familial and social habit to the unseen images and urges that give the mundane the sheen of the numinous. If the book is a viewing party, Yong is a genial and attentive host, inviting us in to absorbing scenes of everyday curiosity and surprise.” 
  -Jen Crawford, Assistant Professor and Coordinator of Creative Writing Programme at Nanyang Technological University, Singapore

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  Honest Work - A Good Women Story

  Halle Hill

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  Maudette works at the state fair. She hates her job, she hates what her mother does for a living, she hates the people in her town, especially one of her mother’s clients, a local deacon. Working the tilt-a-whirl one day, she begins to consider revengeHonest Work is a short story from Halle Hill’s Good Women, which delves into the lives of twelve Black women across the Appalachian South. Darkly funny and deeply human, Good Women observes how place, blood ties, generational trauma, obsession, and boundaries―or lack thereof―influence how we navigate our small worlds, and how those worlds so often collide in ways we don’t expect.

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  At the Bottom of the River

  Jamaica Kincaid

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  Jamaica Kincaid's At the Bottom of the River . . . inspired, lyrical short stories 
   
   
   
  Reading Jamaica Kincaid is to plunge, gently, into another way of seeing both the physical world and its elusive inhabitants. Her voice is, by turns, naively whimsical and biblical in its assurance, and it speaks of what is partially remembered partly divined. The memories often concern a childhood in the Caribbean—family, manners, and landscape—as distilled and transformed by Kincaid's special style and vision. 
   
   
   
  Kincaid leads her readers to consider, as if for the first time, the powerful ties between mother and child; the beauty and destructiveness of nature; the gulf between the masculine and the feminine; the significance of familiar things—a house, a cup, a pen. Transfiguring our human form and our surroundings—shedding skin, darkening an afternoon, painting a perfect place—these stories tell us something we didn't know, in a way we hadn't expected.

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