Dana, a modern black woman, is celebrating her twenty-sixth birthday with her new husband when she is snatched abruptly from her home in California and transported to the antebellum South. Rufus, the white son of a plantation owner, is drowning, and Dana has been summoned to save him. Dana is drawn back repeatedly through time to the slave quarters, and each time the stays grow longer, more arduous, and more dangerous until it is uncertain whether or not Dana's life will end, long before it has a chance to begin.

The difference that being female makes to the diagnosis, life and experiences of an autistic person is hugely significant. In this widely expanded second edition, Sarah Hendrickx combines the latest research with personal stories from girls and women on the autism spectrum to present a picture of their feelings, thoughts and experiences at each stage of their lives.
Outlining the likely impact will be for autistic women and girls throughout their lifespan, Hendrickx surveys everything from diagnosis, childhood, education, adolescence, friendships and sexuality, to employment, pregnancy, parenting, and aging.
With up-to-date content on masking, diagnosis later in life, and a new focus on trans and non-binary voices, as well as a deeper dive into specific health and wellbeing implications including menopause, PCOS, Hypermobility/Ehlers-Danlos, autistic burnout, and alexithymia, this is an invaluable companion for professionals, as well as a guiding light for autistic women to understand and interpret their own experience in context.

Masculinity without men. In Female Masculinity Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.
Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. She rereads Anne Lister’s diaries and Radclyffe Hall’s The Well of Loneliness as foundational assertions of female masculine identity. She considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. She also explores issues of transsexuality among “transgender dykes”—lesbians who pass as men—and female-to-male transsexuals who may find the label of “lesbian” a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.
Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

In her first book since the critically acclaimed Female Masculinity (Duke UP), Judith Halberstam examines the significance of the transgender body in a provocative collection of essays on queer time and space. She presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms - especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture. In a Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don't Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the "transgender gaze," as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counter-publics and queer temporalities. Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.

现在是束草的冬天，这里是韩国与朝鲜边境的一座旅游小镇，一个年轻的法韩混血女孩在一家破旧的招待所做前台。一天晚上，来了一位罕见的客人：决心在这片荒凉的景象中寻找灵感的法国漫画家。

女孩不断违抗社会的期望，与她的异地男友分手，抵抗母亲对整容的催促，她与漫画家之间形成一种微妙又流动的关系。她同意陪他去寻找“真实”的束草，两人前往雪山和壮观的瀑布，甚至到达边境。可他对她熟悉的束草毫无兴趣——花哨的霓虹灯，战争的伤痕，母亲工作的鱼市。她有了一个隐秘的愿望，想要成为他画中的人。

多年來，我深受焦慮和憂鬱症所苦。
這痛苦如同長著尖牙的怪獸，我與之搏鬥不下數百回。
每次，當我以為自己已經擊敗它了，它卻重新發動攻擊、再次朝著我的喉嚨撲來。
史蒂芬妮曾以為自己過著完美的生活，不僅從事夢寐以求的廣播工作，年紀輕輕就成為節目的得獎製作人，更住在有門禁的好公寓，擁有理想情人與一隻調皮的貓。但當她工作成癮，在派對上自顧自地猛說自己的事，或者當她遭主管刁難，硬要同事陪她訴苦、接收她的負面情緒，她才在眾人面露難色的臉上發現，或許自己正是讓每個人、也讓自己精疲力盡的元兇。
痊癒總是要從診斷開始。在與諮商師晤談後，她得知自己其實早就患有複雜性創傷後壓力症候群（Complex PTSD，患者經歷長時間且持續多年的創傷而得），源自她在童年時期便不斷遭到父母的言語與肢體暴力。她總以為自己已經擺脫過去，但診斷結果卻說明：過去的一切，仍然在傷害她，讓她無來由地恐慌發作、啜泣，讓她宛如利劍傷人。
剎那間，我發現人生中遭遇的每一場衝突、每一個失敗和缺陷，都能追本溯源：
那個「源頭」，就是我自己。
我想要的事物、我所愛的一切、我說話的方式、我的恐懼，
乃至我的痘痘、我的飲食習慣、我喝了多少威士忌……
我開始懷疑，我的創傷是否充斥於我的血液之中，驅動著我腦中的每一個決定？
於是，史蒂芬妮鼓起勇氣、拼了命想瞭解自己的病：她講述充滿暴力與衝突的兒時回憶，重新建立健康的自我對話；她閱讀科普書、致電科學家，希望以科學角度解答心理與生理反應之間的關係；她拜訪心理師，嘗試從眼動催眠、接地冥想，到內在家庭系統等各種各樣的療法；最終也回到從小長大的西岸家鄉，與師長友人談起過去的自己，並同時深入創傷根源，挖掘埋藏父母身上而她從未想過需要了解的生命創傷乃至兩人在馬來西亞的家族故事。
曾經，她將發怒當作解除傷心的藥方，將工作當成救贖。但在看見、理解自己受過的所有傷害的過程中，她一步步拆解觸發她情緒反應的因素，思考自己的感受，聆聽自己的需求，她逐漸意識到：或許她並非破碎之人，一直以來真正破碎的，是她看待自己的方式。
曾經，我以為可以逃離過去，以為過去發生的事早已過去，
但到今天我才明白，過去一直在這裡。
如果受傷者恆傷人，那麼我再也不想傷害別人了。
為此，我必須停止當一個不可靠的說書人，
我必須無所畏懼、一絲不苟，檢視我自己和我的行為，
我必須對我精心打造、隨時會瓦解的人生，抽絲剝繭……
本書是作者史蒂芬妮．傅以自身的人生故事為出發點，透過心理諮商展開對創傷的細膩解讀。創傷或許永遠無法痊癒，但史蒂芬妮接受這場畢生的戰鬥──除了挖掘埋藏於記憶最深處的腐屍爛骨，並試著拼湊完整的自己，更重要的是主動去改變自身與診斷結果之間的關係，重建對於自我的認知。即便傷痛有如藤蔓、吞沒了她整副身軀，她仍知曉：創傷無法代表她，也無法定義她全部的人生。

很荒謬吧，拳頭怎麼可能贏得過槍呢？
1980年5月，韓國光州市民與學生組織示威遊行反抗全斗煥政權。15歲的少年東浩和朋友正戴，也一起參加了示威活動。當政府派軍隊進駐光州冷血鎮壓，軍人開始開槍射殺市民的時候，東浩害怕地逃走躲了起來，並且親眼目睹正戴被當街射殺。
東浩愧疚之餘，來道廳的尚武館找尋正戴屍體，遇到了負責處理遺體入殮的女高中生恩淑，以及年輕的女裁縫師善珠，受她們請求留下來幫忙，也因此認識了館內負責調配人力與物資的男大學生振秀。
在協助無名屍體登記的工作時，東浩不時對自己的懦弱感到自責。幾天後，軍方即將攻入道廳的那晚，東浩下定決心要堅守到最後……
到底為什麼他死了，我卻還活著？
因為處理過屍體、從此無法再吃肉的恩淑；在拘留所遭遇非人對待的大學生振秀；背負著入獄汙點、把自己封閉起來的善珠；未能即時勸說兒子東浩回家的母親，他們剩餘的人生從此都懷抱愧疚，懷念著那名鼓起勇氣迎向軍隊的少年……

The Natural Enemies of Books is a response to the groundbreaking 1937 publication Bookmaking on the Distaff Side, which brought together contributions by women printers, illustrators, authors, typographers and typesetters. It highlights the print industry’s inequalities and proposes a takeover of the history of the book.

Edited by feminist graphic design collective MMS (Maryam Fanni, Matilda Flodmark and Sara Kaaman), Natural Enemies includes several new essays and poems by Kathleen Walkup, Ida Börjel, Jess Baines and Ulla Wikander. It also offers conversations with former typesetters Inger Humlesjö, Ingegärd Waaranperä, Gail Cartmail and Megan Dobney as well as reprints of the original book.

The Natural Enemies of Books is funded by the Swedish Arts Grants Committee and through an artist-in-residence period at Grafikens Hus, in collaboration with the Södertälje Konstnärskrets.

《鹿》是“蓝色东欧”丛书第五辑作品。具有重要海外影响力的当代匈牙利作家之一，科苏特奖获奖作家，文学翻译家萨博?玛格达的长篇小说。
美貌与演技兼具的女演员艾丝特出生于一个没落的贵族家庭，物质贫乏与对父母之间情感的疏离，让她度过了一个几欲窒息的青少年时代。贫困、战争将她没有工作能力、养花爱草的父亲过早送到了坟墓里，同时也永远毁灭了她的信仰、信心和快乐的能力。无论金钱，还是爱情，都无法让她摆脱那个令人生厌的可怕自我。她从生活并受之教养的社会里学到了杀人：杀了爱她的人，从而也为自己宣判了死刑。

A brash, enlightening, and wildly entertaining feminist look at gendered language and the way it shapes us, written with humor and playfulness that challenges words and phrases and how we use them.
“I get so jazzed about the future of feminism knowing that Amanda Montell’s brilliance is rising up and about to explode worldwide.”—Jill Soloway
The word bitch conjures many images for many people, but it is most often meant to describe an unpleasant woman. Even before its usage to mean a female canine, bitch didn’t refer to gender at all—it originated as a gender-neutral word meaning genitalia. A perfectly innocuous word devolving into a female insult is the case for tons more terms, including hussy—which simply meant housewife—or slut, which meant an untidy person and was also used to describe men. These words are just a few among history’s many English slurs hurled at women.
Amanda Montell, reporter and feminist linguist, deconstructs language—from insults and cursing, gossip, and catcalling to grammar and pronunciation patterns—to reveal the ways it has been used for centuries to keep women and other marginalized genders from power. Ever wonder why so many people are annoyed when women talk with vocal fry or use the word like as a filler? Or why certain gender-neutral terms stick and others don’t? Or where stereotypes of how women and men speak come from in the first place?
Montell effortlessly moves between history, science, and popular culture to explore these questions and more—and how we can use the answers to effect real social change. Montell’s irresistible humor shines through, making linguistics not only approachable but both downright hilarious and profound, demonstrated in chapters such as:
Slutty Skanks and Nasty Dykes: A Comprehensive List of Gendered Insults
How to Embarrass the Shit Out of People Who Try to Correct Your Grammar
Fuck it: An Ode to Cursing While Female
Cyclops, Panty Puppet, Bald Headed Bastard and 100+ Other Things to Call Your Genitalia
Montell effortlessly moves between history and popular culture to explore these questions and more. Wordslut gets to the heart of our language, marvels at its elasticity, and sheds much-needed light into the biases that shadow women in our culture and our consciousness.

■我们都是无害之人，我们都曾伤害他人。
50位韩国作家票选2016、2018年度最佳小说。
BLACKPINK成员 金智秀 诚挚推荐
韩国七项文学大奖得主，备受瞩目的80后天才女作家 崔恩荣 获奖处女作首度引进。
八个故事，个人的记忆交织着历史的记忆，从洁白的少年到斑驳的老年，就让我们刻进彼此的生命里，直到永不分离。
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■你是那个自以为善良无害， 实际上却冷漠残忍的人吗？
《对我无害之人》收录了崔恩荣创作的八篇小说。在作者的文字中，那些在呜咽中无声无息结束的关系，那些不以为意、后知后觉的辜负，那些冷漠决绝的转身和无视，一同构建起了比故事情节更为复杂的情感网络。
遭遇不公不义的犯人妻子，被家暴的学生，逃往非洲苦修的教徒，沉船遇难者家属，战争隔绝的异国知己……故事中的人们游离在俗世边缘，大多弱小而安静，无害却屡受伤害，难以逃脱忧郁和痛苦。他们的内心以固有的创伤形成自己的独特纹理，无法抹去亦无法修补。而加害者，往往是与他们一样的无害之人。
世人渴望的安逸和幸福，总是在将他人的孤独和痛苦屏蔽后才得以实现。崔恩荣用温柔的笔调记录下这些残忍的故事，它们在和煦阳光下散发冰冷，在亲密中涌出巨大的失落。当回忆响起无声的破裂音，故事中的人们一半义无反顾地向前，另一半则永远留在了原地，只有寂寞在回响。
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■媒体&读者评论
“我想成为无害之人。我不想带给别人痛苦。因为我亲身感受过人给人的痛苦多么具有破坏性。可是，我做到了吗？我没能成为那样的人......我们真的彼此了解吗？我们真的想要理解吗？通过写小说，每次我都能切身感受到人与人之间有多么遥远，我们也永远不可能完全理解彼此......很多人仅仅因为自己是自己而成为蔑视和憎恶的对象，我想站在这些人的立场上看世界，看人，我想成为这样的作家。”——崔恩荣
毫无疑问，这是一次非凡的亮相。——华盛顿独立书评
崔恩荣与萨莉·鲁尼、吉本芭娜娜和玛丽莲·罗宾逊一样，这些来自不同文化背景的作家都毫不掩饰地审视人际关系和女性经历。崔恩荣是一位值得关注的作家。——企鹅出版
这些故事痛苦而复杂，但并不令人沮丧。它们展示了有着痛苦过去和未知将来的普通人，在冰冷的阳光下度过的岁月是什么样的。——英国观察家报
崔恩荣给读者留下了一些既像宝石又像燃烧的煤块般的时刻。每个这样的时刻都如同一份痛苦的礼物。——纽约时报书评
崔恩荣以作家的力量将这个世界映照成一个虽然寂寥却闪耀着透明光辉的地方。——姜知希（韩国文学评论家）
这是近来难得一见的短篇典范。——权汝宣(韩国作家)
书中每个故事的核心都在于drifting away。分离不一定是痛斥心扉，它也能在你不注意的时候，悄悄挖掉原本属于你的一块血肉。——Goodreads 读者 Eve
书中记录的都是关于人如何失去人的故事，因为时间、死亡、错误和一些你不理解也永远不会理解的原因，发生在我们每个人身上。——Goodreads 读者Edeh
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■关于选篇：
本书中的篇目选自崔恩荣作家的两部代表短篇小说集《祥子的微笑》《对我无害之人》。
书中收录的短篇小说《祥子的微笑》为作家的获奖处女作，也是其成名之作。《你好，再见》《姐姐，我那小小的顺爱姐姐》《韩志与英珠》《米迦勒》均收录自该篇同名小说集《祥子的微笑》（韩国文学村出版社 2016 年版）。此外，《601，602》《援手》《筑沙为家》则收录自本书同名小说集《对我无害之人》（韩国文学村出版社 2018 年版）。两部原作延续了高度相似的主题和风格，讲述了身边那些“无害的普通人”的故事。
“这些人物的心里渗透着我在生活中感受过的感情经历。在读者能从我的小说人物的心里体会到共鸣的瞬间，我们将在彼此看不见对方的地方相遇。”——崔恩荣

《亚洲周刊》2020年十大小说 华语文学的惊喜收获
王德威×王安忆 倾力推荐 “黎紫书为当代马华文学注入几分少见的温情”
《流俗地》以马来西亚锡都，被居民喊作“楼上楼”的小社会拉开序幕。讲述其中市井小民的俗务俗事，迂回曲折的情节，仿佛召唤生命中至关重要的小事。
在“楼上楼”的他们如风中之烛，看似脆弱实则强韧，一旦离开，便流落于人海各自漂流；仿佛走的那一日也意味着困境已渡，人生到了宽敞地，再不需要人相濡以沫。作者融合热带国度的风土民情、政治时局，人们追忆往事，每翻开一页象是自己被时光推到了局外，旁观着当年的自己。
这里的雨下得频繁，人生不少重要的事好像都是在雨中发生。那些记忆如今被掀开来感觉依然湿淋淋，即便干了，也像泡了水的书本，纸张全荡起波纹，难以平复。
马来锡都世俗小城里的平淡生活，数十年历史深处的一众卑微生命。
个人命运的创伤与徙家流落，不同族群关于各自民族的身份认同与情感交融。每一种悲凉的生存底色中，都高昂着人性的倔强。每一个个体的浮沉，都渗透着作者对历史饱含关怀的回望，对现实政治有距离的观望，对海外华人民族身份的复杂情结。

Why do we assume romantic relationships are more important than friendships? What do we lose when we expect a spouse to meet all our needs? And what can we learn about commitment, love, and family from people who put deep friendship at the center of their lives?
In The Other Significant Others, NPR's Rhaina Cohen invites us into the lives of people who have defied convention by choosing a friend as a life partner—these are friends who are home co-owners, co-parents or each other’s caregivers. Their riveting stories unsettle widespread assumptions about relationships, including the idea that sex is a defining feature of partnership and that people who raise kids together should be in a romantic relationship. Platonic partners from different walks of life—spanning age and religion, gender and sexuality and more—reveal how freeing and challenging it can be to embrace a relationship model that society doesn't recognize. And they show that orienting your world around friends isn't limited to daydreams and episodes of The Golden Girls, but actually possible in real life.
Based on years of original reporting and striking social science research, Cohen argues that we undermine romantic relationships by expecting too much of them, while we diminish friendships by expecting too little of them. She traces how, throughout history, our society hasn’t always fixated on marriage as the greatest source of meaning, or even love. At a time when many Americans are spending large stretches of their lives single, widowed or divorced, or feeling the effects of the "loneliness epidemic," Cohen insists that we recognize the many forms of profound connection that can anchor our lives. A rousing and incisive book, The Other Significant Others challenges us to ask what we want from our relationships—not just what we’re supposed to want—and transforms how we define a fulfilling life.

From a global icon, a bold, essential account of how fear of gender is fueling reactionary politics around the world.
Judith Butler, the pioneering theorist whose iconic book Gender Trouble redefined how we think about gender and sexuality, confronts one of the most pressing issues of our time. So-called “gender ideology”—and its supposed dangers—has provoked reactionary backlash across the world. Global networks spread the idea that gender is a dangerous, if not diabolical, ideology threatening to destroy families, local cultures, civilizations—and even "man" himself. Inflamed by the rhetoric of religious leaders, politicians, and public figures, this movement has taken aim at the rights of queer and trans people and sought to restrict the freedoms of women, pushing anti-gender legislation and at times perpetuating violence.
But what, exactly, is so scary about gender? In their monumental book, Butler examines, with characteristic rigor and verve, how “gender” became a convenient catchall boogeyman—a phantasm—for myriad overlapping, and often contradicting, anxieties. From former colonial states in Africa and Asia classifying gender as a Western imposition to the Vatican’s warnings that gender erodes traditional values, Butler powerfully demonstrates how the fears surrounding gender not only are misguided and uninformed but also sow the seeds for authoritarian control and the erosion of public discourse.
An urgent intervention, a bold call for a freer and more allied world, Who's Afraid of Gender? is a landmark work of social and political analysis that is both timely and timeless—a book only Butler could write.

How the law harms sex workers—and what they want instead
Do you have to think that prostitution is good to support sex worker rights? How do sex worker rights fit with feminist and anti-capitalist politics? Is criminalising clients progressive—and can the police deliver justice?
In Revolting Prostitutes, sex workers Juno Mac and Molly Smith bring a fresh perspective to questions that have long been contentious. Speaking from a growing global sex worker rights movement, and situating their argument firmly within wider questions of migration, work, feminism, and resistance to white supremacy, they make clear that anyone committed to working towards justice and freedom should be in support of the sex worker rights movement.

☆ 入选 豆瓣·2018年外国文学非小说类年度十佳
☆ 入选第二届“中国自然好书奖”年度十大自然好书，获自然文学奖
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在这高处，没有动静，也没有声响。
人类离这儿大概还有千万年远吧。
我存在着：这就是大山赐予我的最大恩典。
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☆ “关于英国自然风景的最佳作品 ”（《卫报》）
☆ 肖像印在英镑的传奇作 家 娜恩·谢泼德
☆ 蒙尘三十余年的文学经典 中文版 初次引进
☆ 中文版特别收录 珍妮特 ·温特森 诚挚推荐书评
☆ “当代最好的行走作家” 罗伯特·麦克法伦 万字长文作序
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“我就像一条狗，气味使我兴奋；泥土上苔藓的味道也使我兴奋……”
娜恩·谢泼德是大山的终身游客：她吃野果、饮河水，她在湖里游泳、在山腰入眠；清晨醒来，知更鸟的爪子搭在她赤裸的胳膊上；有些时候，是野鹿吃草时的呼吸把她唤醒。
她冷静精准，分享了一生所见的高地、幽谷、群山、水、雪霜、空气与光、植物、鸟兽虫和人类；却又私人、自我，描述了自己在山中如何安眠、如何观看、如何倾听、如何触摸和感受，乃至于如何存在。
这是一曲献给大山的经典颂歌，一本捕捉流水、雪花、鹿鸣的风土故事集，更是一次通往存在的旅途，一次长达数十年的感官实验，向我们展示了一个人和外在世界之间能产生多少微妙的联系：对山的生命体察得越深，对自己也就了解得更加深入。在1977年出版之前，此书的手稿被作者本人压在箱底三十多年；而在出版后，珍妮特·温特森、阿莉·史密斯、罗伯特·麦克法伦等知名作家均成了娜恩·谢泼德的忠实读者。
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如《尤利西斯》之于都柏林，《达洛维夫人》之于伦敦，《活山》凝视着风景的细节，也充满热情的哲思。——罗伯特·麦克法伦
之所以说《活山》这本书“好”，是因为它在一个特殊且微小的主题中，找到或者说提取了一个关于我们如何理解世界的故事。——珍妮特·温特森
这趟禅宗式的“登山朝圣之旅”让人享受其中，它极具启发性地融合了哲思和纪实，反映了在她所爱的山水中，处处皆是生命的各式形态和力量。——阿莉·史密斯
这本书只有一百多页。但事实上又不止：它长达一千多页，因为你将会至少读十遍以上——而且每一遍都会读出不同的东西。——尼古拉斯·雷扎德，知名书评人

The work of love is a feminist problem, and it demands feminist solutions

Comforting a family member or friend, soothing children, providing company for the elderly, ensuring that people feel well enough to work; this is all essential labour. Without it, capitalism would cease to function. They Call It Love investigates the work that makes a haven in a heartless world, examining who performs this labor, how it is organised, and how it might change. In this groundbreaking book, Alva Gotby calls this work “emotional reproduction,” unveiling its inherently political nature. It not only ensures people’s well-being but creates sentimental attachments to social hierarchy and the status quo. Drawing on the thought of the feminist movement Wages for Housework, Gotby demonstrates that emotion is a key element of capitalist reproduction. To improve the way we relate to one another will require a radical restructuring of society.

This is a new paperback edition of JRR Tolkien's fantasy masterpiece, "The Hobbit". "The Hobbit" is a tale of high adventure, undertaken by a company of dwarves in search of dragon-guarded gold. A reluctant partner in this perilous quest is Bilbo Baggins, a comfort-loving unambitious hobbit, who surprises even himself by his resourcefulness and skill as a burglar. Encounters with trolls, goblins, dwarves, elves and giant spiders, conversations with the dragon, Smaug, and a rather unwilling presence at the Battle of Five Armies are just some of the adventures that befall Bilbo. Bilbo Baggins has taken his place among the ranks of the immortals of children's fiction. Written by Professor Tolkien for his own children, "The Hobbit" met with instant critical acclaim when published.

From Booker-prizewinner Douglas Stuart an extraordinary, page-turning second novel, a vivid portrayal of working-class life and a highly suspenseful story of the dangerous first love of two young men: Mungo and James.

Born under different stars, Protestant Mungo and Catholic James live in the hyper-masculine and violently sectarian world of Glasgow's housing estates. They should be sworn enemies if they're to be seen as men at all, and yet they become best friends as they find a sanctuary in the pigeon dovecote that James has built for his prize racing birds. As they find themselves falling in love, they dream of escaping the grey city, and Mungo works especially hard to hide his true self from all those around him, especially from his elder brother Hamish, a local gang leader with a brutal reputation to uphold.

But the threat of discovery is constant and the punishment unspeakable. When Mungo's mother sends him on a fishing trip to a loch in Western Scotland with two strange men whose drunken banter belies murky pasts, he will need to summon all his inner strength and courage to get back to a place of safety, a place where he and James might still have a future.

Imbuing the everyday world of its characters with rich lyricism and giving full voice to people rarely acknowledged in literary fiction, Douglas Stuart's Young Mungo is a gripping and revealing story about the bounds of masculinity, the push and pull of family, the violence faced by so many queer people, and the dangers of loving someone too much.

PRAISE FOR YOUNG MUNGO

'I wasn't sure Young Mungo could live up to Shuggie Bain, but it surpasses it. Deeply harrowing but gently infused with hope & love. And so exquisitely written. It's a joy to watch, in real time, as Douglas Stuart takes his place as one of the greats of Scottish literature.' Nicola Sturgeon

'Few novels are as gutsy and gut-wrenching as Young Mungo in its depiction of a teenage boy who finds love amid family dysfunction, community conflict and the truly terrible predations of adults. Vividly realised and emotionally intense, this scorching novel is an urgent addition to the new canon of unsung stories.' Bernardine Evaristo

'I can honestly say that the second novel from the author of Shuggie Bain... surpassed my (high) expectations. Stuart makes you care deeply about all of his characters but none more than Mungo, Mo-Maw's beloved, "the softest, sweetest boy she had ever known".' - Bookseller, 'Fiction Book of the Month'
'Prepare your hearts, for Douglas Stuart is back... Another beautiful and moving book' -Observer

'Again this author creates characters so vivid, dilemmas so heart-rending, and dialogue so brilliant that the whole thing sucks you in like a vacuum cleaner... Romantic, terrifying, brutal, tender, and, in the end, sneakily hopeful. What a writer.' - Kirkus Reviews

'There are wonderful stories in publishing, but the story of Douglas Stuart is pure magic... With Young Mungo... more magic is all but guaranteed... The book is a literary wonder and a suspenseful page-turner.' - Publishers' Weekly