Following on from events in Sons of Fenris set in the nightmare future of the 41st millennium, can superhuman warrior Ragnar Blackmane redeem his honor and rejoin his battle-brothers?This is the gripping conclusion to the Spear of Russ story arc, a popular Sace Wolf series.

The Livingstone is in serious trouble. Emmaley’s brain is handing her one scenario worse than the other. Unless they find oxygen soon, she’ll have to freeze the crew to survive. If they get back, she'll rip the repair yard mechanic a new one. If. Being a rogue out in space isn’t easy, but Emmaley has managed to get out of scrapes before. This time, however, it looks bad. Their only chance is an unknown planet, and the best they can hope for are some slimy algae. But how come it looks like Earth? This is a hopepunk SF short story with an ecological twist. If you like a glimpse of an optimistic future, an environmental mystery, some native lore and a surprise ending, this book is for you. Buy today if Earth 2.0 appeals to you.

Zell finds himself in the hands of Diles, as his Tribe call the aliens who conquered their world. Fortunately, his Master is not one of the sadistic ones that he has heard about. And the young woman Zell is supposed to train as a bed pet is smart, brave and inventive. However, his Master intends to gift him to a Dile who turns out to be the worst possible owner – and who becomes a formidable enemy. not much later, Zell's Master also discovers that it is impossible to quench the spirit of a Wild One. (Content warning: This book contains mature themes including violence and descriptive bed scenes.)

North Deer won’t fight her destiny. But someone else will. Every Wind dies on top of their pyramid when they turn twenty-five, and North is no exception. She embraces her duty to give her life for the good of the Empire. So why is a Priest spiriting her away in the middle of the night? Out in the icy lands beyond North Wall, North and Varden struggle to survive. Soon, North falls in love with the handsome, green-eyed Priest who has risked his life for her, even as she sees his gruesome death in a shattering vision. How can North even go on without Varden? This is book four in the epic fantasy series Winds of Destiny. If you enjoy a story with a magic-wielder growing into her powers, more twists than a quaking snake, and a found family, you will love “North Shatters”. Buy this book today and discover a clever bear rather than a clever mule. Winds of Destiny reading order: South Breaks West Flows East Roars North Shatters Earth Splits (Pillars of the Empire Book 1)

The experimental practices of a group of artists in the former East Germany upends assumptions underpinning Western art’s postwar histories. In Paper Revolutions, Sarah James offers a radical rethinking of experimental art in the former East Germany (the GDR). Countering conventional accounts that claim artistic practices in the GDR were isolated and conservative, James introduces a new narrative of neo-avantgarde practice in the Eastern Bloc that subverts many of the assumptions underpinning Western art’s postwar histories. She grounds her argument in the practice of four artists who, uniquely positioned outside academies, museums, and the art market, as these functioned in the West, created art in the blind spots of state censorship. They championed ephemeral practices often marginalized by art history: postcards and letters, maquettes and models, portfolios and artists’ books. Through their “lived modernism,” they produced bodies of work animated by the radical legacies of the interwar avant-garde. James examines the work and daily practices of the constructivist graphic artist, painter, and sculptor Hermann Glöckner; the experimental graphic artist and concrete and sound poet Carlfriedrich Claus; the mail artist, concrete poet, and conceptual artist Ruth Wolf-Rehfeldt; and the mail artist, “visual poet,” and installation artist Karla Sachse. She shows that all of these artists rejected the idea of art as a commodity or a rarefied object, and instead believed in the potential of art to create collectivized experiences and change the world. James argues that these artists, entirely neglected by Western art history, produced some of the most significant experimental art to emerge from Germany during the Cold War.