Tobias S. Buckell, Arctic Rising, Ebury Publishing: The Arctic Cap has all but melted, oil has run low and Anika Duncan, former mercenary turned United Nations Polar Guard pilot, patrols the region to protect against pollution and smuggling.
In a daring plan to terraform the planet, the Gaia Corporation develops a revolutionary new technology, but when they lose control, our best potential solution to global warming may become the deadliest weapon ever known.
As a lethal game of international politics and espionage begins, it will be up to Anika to decide the fate of the Earth.
Part techno-thriller, part eco-thriller, Arctic Rising is a fantastic dystopian science fiction adventure that will appeal to fans of everyone from Michael Crichton to James Bond.
Tobias S. Buckell, Hurricane Fever, Ebury Publishing: A storm is coming…
When former spy Roo Jones receives an unexpected package from a dead friend, he’s yanked out of a comfortable retirement and is suddenly embroiled in a global conspiracy involving a weapon that could change the face of the world forever.
But as one of the largest hurricanes to hit the Caribbean begins to sweep through the area, Roo just may find that time is running out – not just for himself, but the whole world…
Perfect for fans of action-packed espionage, Hurricane Fever is a kinetic techno-thriller for
a new generation.
Tutti i libri di Tobias S. Buckell: http://en.wikipedia.org/wiki/Tobias_S._Buckell#Works
Merle Collins, The Ladies Are Upstairs, Peepal Tree: From the 1930s to the new century, Doux Thibaut, one of Merle Collins’ most memorable characters, negotiates a hard life on the Caribbean island of Paz. As a child there is the shame of poverty and illegitimacy, and there are the hazards of sectarianism in an island divided between Catholic and Protestant, the rigidity of a class and racial system where, if you are black, your white employer is always right—and only the ladies live upstairs. Doux confronts all such challenges with style and hidden steel.
We leave Doux as an old lady moving between the homes of her children in Boston and New York, wondering whether they and her grandchildren really appreciate what her engagement with life has taught her.
In these tender and moving stories, Merle Collins demands that we do not forget such lives. If ghosts appear in several of the later stories, they are surely there to warn that amnesia about the past can leave disturbed and restless spirits behind.
In addition to the Doux stories, this collection restores to print an earlier ‘Paz’ story, “Rain Darling”, and their juxtaposition contrasts two very different responses to the hazards of life.
Merle Collins, Angel, Peepal Tree: Angel covers the turbulent years during which Grenada both found and lost itself, from 1951, when workers revolted against the power of the white owners of the sugar and cocoa estates, to 1983 when the US invasion put an end to a bold social experiment that turned violently in on itself. At the heart of the story is Doodsie, and her fiery daughter, Angel, product of both her mother’s vernacular wisdom, and a university education which exposes her to the ideas of Black Power and radical decolonisation then sweeping the Caribbean.
When the Leader of the 1951 revolt becomes corrupt and authoritarian, both Doodsie and Angel welcome his overthrow by the radical Horizon movement. But mother and daughter take different positions when the popular Chief and the ideological vanguardists of the movement start to fall out. Doodsie knows instinctively where she stands, but Angel is altogether more conflicted about the rights and wrongs of the situation.
Angel richly inhabits the language and life of Grenadian working people, and moves seamlessly between the warmth and tensions of family life and the conflicts that tear a movement apart, provoke fratricide and allow an outrageous breach of sovereignty. As Doodsie says to her fowls, ‘If youall would stay togedder, the chicken-hawk won come down an do nutting! Stupes!’
In this new edition of Angel, first published to great acclaim in 1987, Merle Collins seizes the opportunity to revise and expand the last part of the novel, not to arrive at different conclusions, but to look again at episodes that at the time of the novel’s first writing proved too raw to be handled to her satisfaction.
Merle Collins, Lady in a Boat, Peepal Tree: In poems that express an oblique and resonant disquiet (‘people dream of a lady/ in a boat, dressed in red/ petticoat, adrift and weeping’) and a sequence that addresses memories of the death of the Grenadian revolution, too painful to confront until now, Merle Collins writes of a Caribbean adrift, amnesiac and in danger of nihilistic despair. But she also achieves a life-enhancing and consoling perspective on those griefs. She does this by revisiting the hopes and humanities of the people involved, recreating them in all their concrete particularity, or by speaking through the voice of an eighty-year-old woman ‘making miracle/ with little money because turn hand is life lesson’, and in writing poems that celebrate love, the world of children and the splendours of Caribbean nature. Her poems take the ‘new dead ancestors back to/ mountain to feed the fountain/ of dreams again’.