Fans of classic frontier survival stories, as well as readers of dystopian literature, will enjoy this futuristic story about an epic cross-country journey. In a Handful of Dust is set ten years after the first novel, Not a Drop to Drink, as a dangerous disease strikes the community where teenage Lucy lives. When her adoptive mother, Lynn, takes Lucy away from their home and friends in order to protect her, Lucy struggles to figure out what home means. During their journey west to find a new life, the two face nature’s challenges, including hunger, mountains, and deserts. New York Times bestselling author Michael Grant says Not a Drop to Drink is a debut “not to be missed,” and this companion title is full of Mindy McGinnis’s evocative, spare language matched with incredible drama and danger. In a Handful of Dust is perfect for fans of the Partials, Enclave, and Legend series.

A mental patient escapes his institution in search of bloody vengeance When rain falls on the mental hospital, Calvin Duggai knows it’s time to leave. Institutionalized after he abandoned five men to die in the Mojave Desert, he has spent years planning escape and revenge. For months he has tunneled through the asylum’s bathroom wall, waiting for a night when rain will cover his tracks. As water soaks the grounds of the silent institution, Duggai punches a hole in the stucco wall and creeps out onto the building’s ledge. After a mistimed leap, he limps to the chain link fence with a cracked knee. As he scales the twelve-foot barbed-wire fence, he ignores the searing pain. The men who sent him away must be punished. Duggai has four doctors to kill.

Fans of classic frontier survival stories, as well as readers of dystopian literature, will enjoy this futuristic story where water is worth more than gold. New York Times bestselling author Michael Grant says Not a Drop to Drink is a debut "not to be missed." With evocative, spare language and incredible drama, danger, and romance, Mindy McGinnis depicts one girl's journey in a frontierlike world not so different from our own. Teenage Lynn has been taught to defend her pond against every threat: drought, a snowless winter, coyotes, and most important, people looking for a drink. She makes sure anyone who comes near the pond leaves thirsty—or doesn't leave at all. Confident in her own abilities, Lynn has no use for the world beyond the nearby fields and forest. But when strangers appear, the mysterious footprints by the pond, nighttime threats, and gunshots make it all too clear Lynn has exactly what they want, and they won't stop until they get it. . . . For more in this gritty world, join Lynn on an epic journey to find home in the companion novel, In a Handful of Dust.

A successful, middle-aged novelist with a case of 'bad nerves,' Gilbert Pinfold embarks on a recuperative trip to Ceylon. Almost as soon as the gangplank lifts, Pinfold hears sounds coming out of the ceiling of his cabin: wild jazz bands, barking dogs, loud revival meetings. He can only infer that somewhere concealed in his room an erratic public-address system is letting him hear everything that goes on aboard ship. And then, instead of just sounds, he hears voices. But they are not just any voices. These voices are talking, in the most frightening intimate way, about him!

Collected for the first time in a single volume: all of the short fiction by one of the 20th century's wittiest and most trenchant observers of the human comedy.

In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern.