Nightmarish machines have driven humanity into the depths of space. The survivors are forced to adapt to a planet filled with monsters.

The first installment in the delightful, internationally acclaimed series featuring Chief of Police Bruno. Meet Benoît Courrèges, aka Bruno, a policeman in a small village in the South of France. He’s a former soldier who has embraced the pleasures and slow rhythms of country life. He has a gun but never wears it; he has the power to arrest but never uses it. But then the murder of an elderly North African who fought in the French army changes all that. Now Bruno must balance his beloved routines—living in his restored shepherd’s cottage, shopping at the local market, drinking wine, strolling the countryside—with a politically delicate investigation. He’s paired with a young policewoman from Paris and the two suspect anti-immigrant militants. As they learn more about the dead man’s past, Bruno’s suspicions turn toward a more complex motive. "Enjoyable.... Martin Walker plots with the same finesse with which Bruno can whip up a truffle omelette, and both have a clear appreciation for a life tied to the land." —The Christian Science Monitor "A nice literary pairing with the slow-food movement.... [It is] lovely...to linger at the table." —Entertainment Weekly "A wonderfully crafted novel as satisfying as a French pastry but with none of the guilt or calories." —Tuscon Citizen's Journal

'BRINGS ALL THE BEAUTY OF DEEPEST FRANCE VIBRANTLY ALIVE' - Irish Independent on Sunday Bruno, Chief of Police's beloved Dordogne town of St Denis is tearing itself apart. Can he keep it together in the gripping eighth instalment in this internationally bestselling series? St Denis may be picturesque and sleepy, but it has more than its fair share of murder and mystery, as Bruno knows all too well. When Bruno is invited to the 90th birthday of a powerful local patriarch - a war hero with high-level political connections in France, Russia and Israel - he encounters a family with more secrets than even he had imagined. When one of the other guests is found dead the next morning and the family try to cover it up, Bruno knows it's his duty to prevent the victim from becoming just another skeleton in their closet. Even if his digging reveals things Bruno himself would rather keep buried. Meanwhile, very modern battles are being fought in St Denis between hunters defending their traditions and environmentalists protecting local wildlife. Neither side, it seems, is above the use of violent tactics. At the centre of it all, Bruno must use all his cunning and character to protect his community's future from its present - and its past.

Meet a silly and absurd cat who's like no cat you've ever met before, in this inventive and unusual book from the illustrator of the picture-book version of John Lennon's song "Imagine." When a box arrives on Peter's doorstep, he opens it to find Bruno, a cat who is standing up on two legs. It is very odd. Bruno likes to chew bubble gum, play house, and skateboard--and refuses to engage in any catlike behavior. But Peter likes Bruno, and so they become friends and do everything they can think of together. Jean Jullien (illustrator of the picture-book version of John Lennon's song "Imagine") is an emerging picture-book creator who works in a signature thick black line and bold, flat color. His quirky, subversive humor is childlike at its core, and kids will delight in his light and irreverent approach.

The thrilling sequel to In the Orbit of Sirens THE WORLD OF KAMARIA WILL NEVER BE THE SAME. In the aftermath of the brutal slaying of a sacred auk'nai deity, Cade and Nella Castus are taken from their home and brought deep into the wilderness. They must make their way back to civilization, traversing dangerous landscapes as they are pursued relentlessly by their captor-a winged abomination. As Denton and Eliana search for their missing children, they uncover something that will change life on Kamaria forever.

In the 1930s, through the prose of Bruno Schulz (1892–1942), the Polish language became the linguistic raw material for a profound exploration of the modern Jewish experience. Rather than turning away from the language like many of his Galician Jewish colleagues who would choose to write in Yiddish, Schulz used the Polish language to explore his own and his generation's relationship to East European Jewish exegetical tradition, and to deepen his reflection on golus or exile as a condition not only of the individual and of the Jewish community, but of language itself, and of matter. Drawing on new archival discoveries, this study explores Schulz's diasporic Jewish modernism as an example of the creative and also transient poetic forms that emerged on formerly Habsburg territory, at the historical juncture between empire and nation-state.