A groundbreaking and “wonderful” (Library Journal, starred review) anthology of fantasy, science fiction, and romance from New York Times bestselling and award-winning authors, edited by the acclaimed George R.R. Martin and Gardner Dozois. From epic fantasy, post-apocalyptic America, to faerie-haunted rural fields in 18th-century England, to an intergalactic empire, join star-crossed lovers as they struggle against the forces of magic and fate. A star-studded cross-genre anthology Songs of Love and Death features all-original tales from seventeen of the most prestigious names in romance, fantasy, and science fiction. Contributors include: -Neil Gaiman -Diana Gabaldon -Jim Butcher -Robin Hobb -Marjorie M. Liu -Jo Beverley -Mary Jo Putney -Peter S. Beagle -Jacqueline Carey -Carrie Vaughn -Yasmine Galenorn -MLN Hanover -Kristine Kathryn Rusch -Linnea Sinclair -Cecelia Holland -Tanith Lee -Melinda Snodgrass -Lisa Tuttle

A Song of Love and Death examines the art of opera with the same creative insight that Susan Sontag's On Photography brought to its medium. It is an eloquent inquiry into the meaning of our boldest art, its expression of human irrationality and its power to disturb and excite us.

The authors of oral literature in the Pashtun language create their work at a far remove from any books. Generally deprived of the support of schools and universities, their compositions are inseparable from song. Their poetry is never declaimed; rather, their rhyme and rhythm have melodic value. These popular improvisations do not exalt mystic love. In them there is no aspiration whatsoever to an unfathomable and incommunicable heaven, nor devotion to the lord, nor praise for an absolute master, nor any Adonis. To the contrary, they are songs of the earth. They celebrate nature, mountains, rivers, dawn and night’s magnetic space. They are songs of war and honor, shame and love, beauty and death. The repression of Afghan women has caused untold suffering, particularly through moral subjugation. Infant daughters and their mothers are received with scorn and shame, and lead lives of subordination and humiliation. Their rebellion against these tribal codes comes only through suicide and song. Translated from the Pashtun into French by the eminent Sayd Bahodine Majrouh, the greatest Afghan poet of the twentieth century, his text has been rendered into English in the expert hands of Marjolijn de Jager of the Translation Department at NYU.

The definitive collection of lyrics from three decades of songwriting. As a performer, songwriter, and actor, Will Oldham has carved a singular path through the worlds of indie folk and cinema. Now the critically acclaimed, enigmatic artist presents his life’s work: the lyrics to more than two hundred songs spanning the 1980s to the present, each with annotations that impart new meaning to his music. Oldham’s aphoristic meditations—on death, patience, and turning carelessness into a virtue—are, like his lyrics, profound, earthy, and often funny. They reveal flashes of Oldham’s philosophy, the sources and circumstances that inspired his lyrics, and the literary ambition of his songwriting. Separated from their aural form, Oldham’s lyrics become a new kind of poetry—candid, awkward, and wise—with influences as diverse as Rabindranath Tagore and The Mekons. A book that will delight his longtime fans and inspire young songwriters, Songs of Love and Horror reveals an artist who has captured extraordinary poetry in music despite being "a stranger among my own language."

Three times DCI Pascoe has wrongly accused dead-pan joker Franny Roote. This time he’s determined to leave no gravestone unturned as he tries to prove that the ex-con and aspiring academic is mad, bad, and dangerous to know. Meanwhile, Edgar Wield rides to the rescue of a child in danger, only to find he has a rent-boy with a priceless secret under his wing. DC Bowler is looking forward to a blissful New Year with the girl of his dreams. Unfortunately, her dreams are filled with a horror too terrible to tell . . . And over all this activity broods the huge form of DS Andy Dalziel. As trouble builds, the Fat Man discovers (as have many deities before him) that omniscience can be more trouble than it’s worth and that sometimes all omnipotence means is that you can have any colour you want, as long as it’s black.