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Deep Wheel Orcadia is, effortlessly, a first: a science-fiction verse novel written in the Orcadian dialect, it's also the first full-length book in the Orkney language in over 50 years Astrid is returning home from art school on Mars, looking for inspiration. Darling is fleeing a life that never fit, searching for somewhere to hide. They meet on Deep Wheel Orcadia, a distant space station struggling for survival as the pace of change threatens to leave the community behind. Deep Wheel Orcadia is a magical first: a science fiction verse novel written in the Orkney dialect. This unique adventure in minority language poetry comes with a parallel translation into playful and vivid English, so the reader will miss no nuance of the original. The rich and varied cast weaves a compelling, lyric and effortlessly readable story around place and belonging, work and economy, generation and gender politics, love and desire - all with the lightness of touch, fluency and musicality one might expect of one the most talented poets to have emerged from Scotland in recent years. Hailing from Orkney, Harry Josephine Giles is widely known as a fine poet and spellbindingly original performer of their own work; Deep Wheel Orcadia now strikes out into audacious new space.
Orginally published: United Kingdom: Atlantic Books, 2016.
A New York Times Editors' Choice Pick! A Best Book of the Year for Time | NPR | The Guardian | Gizmodo| Portalist | New York Public Library A Most Anticipated Pick for USA Today | Bustle | Buzzfeed | Goodreads | Nerdist | io9 | WBUR | Polygon | The New Scientist Locus Award Finalist! Connecticut Book Award for Fiction winner! Dragon Award Finalist! Legacy Award Finalist! "In this ambitious novel, dense with perspectives and social commentary, Onyebuchi dreams up disparate lives in a crumbling future America—with gentrifiers returning to Earth from space colonies and laborers trying to make a precarious living—while leaving room for moments of beauty and humor."—The New York Times, Editors' Choice In his adult novel debut, Hugo, Nebula, Locus, and NAACP Image Award finalist and ALA Alex and New England Book Award winner Tochi Onyebuchi delivers a sweeping science fiction epic in the vein of Samuel R. Delany and Station Eleven. In the 2050s, Earth has begun to empty. Those with the means and the privilege have departed the great cities of the United States for the more comfortable confines of space colonies. Those left behind salvage what they can from the collapsing infrastructure. As they eke out an existence, their neighborhoods are being cannibalized. Brick by brick, their houses are sent to the colonies, what was once a home now a quaint reminder for the colonists of the world that they wrecked. A primal biblical epic flung into the future, Goliath weaves together disparate narratives—a space-dweller looking at New Haven, Connecticut as a chance to reconnect with his spiraling lover; a group of laborers attempting to renew the promises of Earth’s crumbling cities; a journalist attempting to capture the violence of the streets; a marshal trying to solve a kidnapping—into a richly urgent mosaic about race, class, gentrification, and who is allowed to be the hero of any history. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Greenvoe, the community on the Orkney Island of Hellya, has existed unchanged for generations. George Mackay Brown has recreated a week in its life, mixing history with personality in a sparkling mixture of prose and poetry.
A call to action for consumers everywhere, Consumed asks us to look at how and why we buy what we buy, how it's created, who it benefits, and how we can solve the problems created by a wasteful system. We live in a world of stuff. We dispose of most of it in as little as six months after we receive it. The byproducts of our quest to consume are creating an environmental crisis. Aja Barber wants to change this--and you can, too. In Consumed, Barber calls for change within an industry that regularly overreaches with abandon, creating real imbalances in the environment and the lives of those who do the work—often in unsafe conditions for very low pay—and the billionaires who receive the most profit. A story told in two parts, Barber exposes the endemic injustices in our consumer industries and the uncomfortable history of the textile industry, one which brokered slavery, racism, and today’s wealth inequality. Once the layers are peeled back, Barber invites you to participate in unlearning, to understand the truth behind why we consume in the way that we do, to confront the uncomfortable feeling that we are never quite enough and why we fill that void with consumption rather than compassion. Barber challenges us to challenge the system and our role in it. The less you buy into the consumer culture, the more power you have. Consumed will teach you how to be a citizen and not a consumer.
An alien artifact turns a young girl into Death's adopted daughter in Remote Control, a thrilling sci-fi tale of community and female empowerment from Nebula and Hugo Award-winner Nnedi Okorafor “She’s the adopted daughter of the Angel of Death. Beware of her. Mind her. Death guards her like one of its own.” The day Fatima forgot her name, Death paid a visit. From hereon in she would be known as Sankofa—a name that meant nothing to anyone but her, the only tie to her family and her past. Her touch is death, and with a glance a town can fall. And she walks—alone, except for her fox companion—searching for the object that came from the sky and gave itself to her when the meteors fell and when she was yet unchanged; searching for answers. But is there a greater purpose for Sankofa, now that Death is her constant companion? Winner of the AudioFile Earphones Award (audiobook version). At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Humanity’s complex relationship with technology spirals out of control in this first book of an all-new series from “the owner of the most powerful imagination in science fiction” (Ken Follett). “How far ‘space opera’ has come! The Old Masters of sci-fi would admire the scope and sweep of Salvation.”—The Wall Street Journal In the year 2204, humanity is expanding into the wider galaxy in leaps and bounds. Cutting-edge technology of linked jump gates has rendered most forms of transportation—including starships—virtually obsolete. Every place on Earth, every distant planet humankind has settled, is now merely a step away from any other. All seems wonderful—until a crashed alien spaceship of unknown origin is found on a newly located world eighty-nine light-years from Earth, carrying a cargo as strange as it is horrifying. To assess the potential of the threat, a high-powered team is dispatched to investigate. But one of them may not be all they seem. . . . Bursting with tension and big ideas, Peter F. Hamilton’s Salvation is the first book of an all-new series that highlights the inventiveness of an author at the top of his game. Praise for Salvation “[A] vast, intricate sci-fi showstopper . . . The journey grips just as hard as the reveal.”—Daily Mail (U.K.) “Exciting, wildly imaginative and quite possibly Hamilton’s best book to date.”—SFX “Dynamic, multifaceted characters, strong mind-expanding concepts, and impressive flair for language [make Salvation a] rare celestial event. . . . One of Britain’s bestselling sci-fi authors has launched an addictive new book as the initial stage of what is sure to be an intriguing new series called the Salvation Sequence.”—SyFyWire “Peter Hamilton just keeps getting better and better with each book, more assured and more craftsmanly adroit, and more inventive. [Salvation is] a bravura performance from start to finish. . . . Hamilton is juggling chainsaws while simultaneously doing needlepoint over a shark tank. It’s a virtuoso treat, and I for one can hardly wait for Salvation Lost.”—Paul Di Filippo, Locus “Peter F. Hamilton is known as one of the world’s greatest sci-fi writers for a reason. . . . Salvation is well worth the effort and a great introduction to some good old-fashioned space opera.”—Fantasy Book Review
From Ducks, Newburyport to zombie movies and the Fast and Furious franchise, how climate anxiety permeates our culture The art and literature of our time is pregnant with catastrophe, with weather and water, wildness and weirdness. The Anthropocene - the term given to this geological epoch in which humans, anthropos, are wreaking havoc on the earth - is to be found bubbling away everywhere in contemporary cultural production. Typically, discussions of how culture registers, figures and mediates climate change focus on 'climate fiction' or 'cli-fi', but The Anthropocene Unconscious is more interested in how the Anthropocene and especially anthropogenic climate destabilisation manifests in texts that are not overtly about climate change - that is, unconsciously. The Anthropocene, Mark Bould argues, constitutes the unconscious of 'the art and literature of our time'. Tracing the outlines of the Anthropocene unconscious in a range of film, television and literature - across a range of genres and with utter disregard for high-low culture distinctions - this playful and riveting book draws out some of the things that are repressed and obscured by the term 'the Anthropocene', including capital, class, imperialism, inequality, alienation, violence, commodification, patriarchy and racial formations. The Anthropocene Unconscious is about a kind of rewriting. It asks: what happens when we stop assuming that the text is not about the anthropogenic biosphere crises engulfing us? What if all the stories we tell are stories about the Anthropocene? About climate change?
'Stylish, deft...an absolutely fascinating novel' Guardian 'Haunting, mesmerising, and so deeply intelligent' Kamila Shamsie, author of Women's Prize for Fiction winning Home Fire 'Powerful...compelling and profoundly moving' Irish Times 'Heartbreaking, sweetly logical and tentatively hopeful' Spectator Heartbroken after a long, painful love affair, a man drives a haulage lorry from England to France. Travelling with him is a secret passenger - his daughter. Twenty-something, unkempt, off the rails. With a week on the road together, father and daughter must restore themselves and each other, and repair a relationship that is at once fiercely loving and deeply scarred. As they journey south, down the motorways, through the service stations, a devastating picture reveals itself: a story of grief, of shame, and of love in all its complex, dark and glorious manifestations. ______________ What readers are saying: ***** 'The prose is sublime and deeply moving . . . a stunning novel' ***** 'Beautifully written, lyrical and unsettling in its exploration of human frailties, family, love, and loss, grief' **** 'A haunting, tragic and highly original story of a father and daughter travelling across England and France in a haulage truck, and discovering more about their relationship and past in all its raw candour' MORE PRAISE FOR WE ARE NOT IN THE WORLD: 'Unusual, utterly original and mysterious . . . a must read' Elaine Feeney '...the book stays with you, a haunting presence you cannot - and do not want to - escape...astounding.' Ruth Gilligan Extraordinary...achingly sad and tender and sexy, and the writing is very beautiful.' Louise Kennedy 'Wonderful, wrenching . . . full of enormous feelings very precisely rendered' Sara Baume 'Elusive, unsettling, beautiful, haunting. This is a complex, devastating study of human relations; a portrait of intense love and damage in equal measure.' Lisa Harding 'A whirlpool of memories, regrets and hopes' Tim Pears 'An uncanny ability to turn the seemingly insignificant into something monumental' Jan Carson
Shola von Reinhold's decadent queer literary debut immerses readers in the pursuit of aesthetics and beauty, while interrogating the removal and obscuring of Black figures from history.