Nominated for the Nebula Award for Best Novelette in 1966

A beautiful young girl appears out of nowhere. A teenager with no past, no family — no memories. Carol and Paul were drawn to her. She was the child they’d never had. Most mothers would die for such a darling little angel. And that’s what frightened Carol most of all…

From the moment young Suewellyn caught her first glimpse of the Mateland family castle, she knew she had to possess it. But how could the beautiful illegitimate child ever aspire to such a dream? The answer lay in a perilous deception. Her masquerade succeeded -- too well. Caught in a web of her own creation, Suewellyn found herself faced with a final, desperate choice between happiness and life itself

Such a daring escape… Their infamous adventurer father has taught Prudence Tremaine and her brother Robin to be masters of disguise. Ending up on the wrong side of the Jacobite rebellion, brother and sister flee to London, Prudence pretending to be a dashing young buck, and Robin a lovely young lady. Could cost them both their hearts… Then Prudence meets the elegant Sir Anthony Fanshawe, and Robin becomes the mysterious hero of the charming Letitia Grayson, and in order to have what they truly want, the two masqueraders must find a way to unmask themselves without losing their lives…

The authorised sequel to WAR OF THE WORLDS, written by one of the world’s greatest SF authors. It has been 14 years since the Martians invaded England. The world has moved on, always watching the skies but content that we know how to defeat the Martian menace. Machinery looted from the abandoned capsules and war-machines has led to technological leaps forward. The Martians are vulnerable to earth germs. The Army is prepared. So when the signs of launches on Mars are seen, there seems little reason to worry. Unless you listen to one man, Walter Jenkins, the narrator of Wells’ book. He is sure that the Martians have learned, adapted, understood their defeat. He is right. Thrust into the chaos of a new invasion, a journalist – sister-in-law to Walter Jenkins – must survive, escape and report on the war. The Massacre of Mankind has begun

It's a bold writer indeed who dares to put himself inside the mind of novelist Henry James, but that is what Tóibín, highly talented Irish author of The Heather Blazing and The Blackwater Lightship, has ventured here, with a remarkable degree of success. The book is a fictionalized study, based on many biographical materials and family accounts, of the novelist's interior life from the moment in London in 1895 when James's hope to succeed in the theater rather than on the printed page was eclipsed by the towering success of his younger contemporary Oscar Wilde. Thereafter the book ranges seamlessly back and forth over James's life, from his memories of his prominent Brahmin family in the States-including the suicide of his father and the tragic early death of his troubled sister Alice-to his settling in England, in a cherished house of his own choosing in Rye. Along the way it offers hints, no more, of James's troubled sexual identity, including his fascination with a young English manservant, his (apparently platonic) night in bed with Oliver Wendell Holmes and his curious obsession with a dashing Scandinavian sculptor of little talent but huge charisma. Another recurrent motif is James's absorption in the lives of spirited, highly intelligent but unhappy young women who die prematurely, which helped to inform some of his strongest fiction. The subtlety and empathy with which Tóibín inhabits James's psyche and captures the fleeting emotional nuances of his world are beyond praise, and even the echoes of the master's style ring true. Far more than a stunt, this is a riveting, if inevitably somewhat evasive, portrait of the creative life. From The Washington Post Say, with due reverence, "the Master" and any serious novel-reader instantly knows you are referring to Henry James (1843-1916). No one else in American or English literature comes close to matching James in his austere dedication to the writer's life. From the time of his first story – about adultery, published in 1865 – he elected to follow a path of essential loneliness. James mingled with society, dined with the great and the good on two continents, and listened and observed with guarded intensity. He made himself into the most sensitive possible register of social nuance, unspoken yearnings, hidden liaisons. But he remained apart from the fray, looking on the tumultuous, sorrowful human comedy with a pity tempered by compassionate understanding for our failings, sins and wounding misjudgments. Tout comprendre, c'est tout pardonner might almost be James's artistic motto. All his own joys were, to the eyes of the world, muted, perhaps nonexistent. In one of his novels a character proclaims: "Live life. Live all you can. It's a mistake not to," and yet the Master himself seems never to have heeded this liberating affirmation and instead funneled all his animal vitality into the making of such masterpieces as The Portrait of a Lady, "The Turn of the Screw," "The Aspern Papers," The Ambassadors, and that greatest of all accounts of a missed life, "The Beast in the Jungle." Colm Toibin alludes to each of these novels, novellas and stories (and several others) in this moving portrait of the artist in late middle age. Here the Irish novelist – hitherto best known for The Blackwater Lightship, which was short-listed for the Booker Prize – builds on the research and speculations of numerous scholars to construct a novel about James's interior life. This requires the utmost delicacy. In one sense, The Master might almost be viewed as an extreme example of what the French call the vie romancée, a highly embellished form of biography that goes beyond austere scholarship to adopt the exuberance and methods of fiction. Henri Troyat's Tolstoy, for instance, was faulted for being too exciting, too artful, too much like a Tolstoy novel. Similar charges have been leveled at the work of Peter Ackroyd on Dickens and Edmund Morris on Ronald Reagan. Readers tend to grow uneasy when they start to wonder where the facts stop and the artistic license begins. But Toibin's impersonation of James works beautifully. The prose is appropriately grave and wistful, the sentences stately without being ponderous, the descriptions at once precise and evocative. The action, such as it is, moves smoothly from a time of temporary desolation to memories of horrible physical and mental suffering to angst-filled comedy (James dithering about how to deal with two drunken servants, James uncertain about how to dispose of the dresses of a dead woman). Toibin focuses on his subject in the years between 1895, when James's play "Guy Domville" was hooted on its opening night, and 1899, when his elder brother William came to visit at Lamb House, his beloved residence in Rye. But in between Toibin recreates scenes from James's childhood, offers a subtle interpretation of the apparent back injury – the so-called great "vastation" – that kept him out of the Civil War and helped make him an artist, and systematically introduces many of the people important in the writer's life. Most of these are women: his protective mother; his bitterly witty invalid sister Alice; the life-enhancing Minny Temple, adored by all the young men at Harvard, including Oliver Wendell Holmes Jr., and – most heartbreaking of all – the novelist Constance Fenimore Woolson, who quietly fell in love with James and then killed herself when it seemed he had abandoned her. All these figure as agents who help him determine his artistic destiny or as temptations to relinquish it for a more human existence. Toibin does suggest that James's fundamental nature was homosexual, if largely unexpressed: He is notably fine in evoking the erotic tension between the novelist and a servant named Hammond (presumably fictional) and the "bewitched confusion" James feels for the sculptor Hendrik Andersen, portrayed here as muscular, ambitious, rather stupid and blindly selfish. One never knows where love will strike. Toibin's masterly prose excels particularly in an easy-going command of the style indirect libre, which conveys a character's mental processes in the third person: "He wished that he was halfway through a book, with no need to finish until the spring when serialization would begin. He wished he could work quietly in his study with the haunting gray morning light of the London winter filtered through the windows. He wished for solitude and for the comfort of knowing that his life depended not on the multitude but on remaining himself." James himself specialized in this technique – he preferred to avoid dialogue as much as possible – because it allowed for the gradual unspooling of a thought, the patient dissection of an emotion or a motive. In The Master, Toibin uses it not only to enter James's mind but also as a means of giving us his reflections on his vocation. Though a novel, The Master is almost a breviary of the religion of art. Consider these three different, but equally striking, passages: "Once it became more solid, the emerging story and all its ramifications and possibilities lifted him out of the gloom of his failure. He grew determined that he would become more hardworking now. He took up his pen again – the pen of all his unforgettable efforts and sacred struggles. It was now, he believed, that he would do the work of his life. He was ready to begin again, to return to the old high art of fiction with ambitions now too deep and pure for any utterance." "And in one of those letters [to John Gray] she had written the words which… Henry thought now maybe meant more to him than any others, including all the words he had written himself, or anyone else had written. Her words haunted him so that saying them now, whispering them in the silence of the night brought her exacting presence close to him. The words constituted one sentence. Minny had written: 'You must tell me something that you are sure is true.' That, he thought, was what she wanted when she was alive and happy, as much as when she was dying… The words came to him in her sweet voice, and as he sat on his terrace in the darkness he wondered how he would have answered her if she had written the sentence to him." "As an artist, he recognized, Andersen might know, or at least fathom the possibility, that each book he had written, each scene described or character created, had become an aspect of him, had entered into his driven spirit and lay there much as the years themselves had done. His relationship with Constance would be hard to explain; Andersen was perhaps too young to know how memory and regret can mingle, how much sorrow can be held within, and how nothing seems to have any shape or meaning until it is well past and lost and, even then, how much, under the weight of pure determination, can be forgotten and left aside only to return in the night as piercing pain." There are many other wise, if often rather doleful, observations in The Master, for the book seeks, in part, to show how a novelist transmutes his own experiences into something rich and strange and true: So, Minny Temple and Alice James are reimagined, in part, as Isabel Archer or Daisy Miller. Sometimes one feels a little too strongly that Toibin is plumping down the "real" events and figures behind the better known fictive ones. Sometimes it seems that he veers close to the besetting fault of so much historical fiction, that of having the hero mention or meet virtually every famous figure of the time. For instance, in the final pages of the book, in a single conversation, he presents William James outlining the lectures that will become The Varieties of Religious Experience, Henry James describing his current projects – clearly "The Beast in the Jungle" and The Ambassadors – and their visitor Edmund Gosse announcing that he's been mulling over a book about his childhood, one that will obviously become the only thing people still read by him, the wonderful Father and Son. Excessive? Perhaps. But suc

Algorithms increasingly run our lives. They find books, movies, jobs, and dates for us, manage our investments, and discover new drugs. More and more, these algorithms work by learning from the trails of data we leave in our newly digital world. Like curious children, they observe us, imitate, and experiment. And in the world’s top research labs and universities, the race is on to invent the ultimate learning algorithm: one capable of discovering any knowledge from data, and doing anything we want, before we even ask. Machine learning is the automation of discovery-the scientific method on steroids-that enables intelligent robots and computers to program themselves. No field of science today is more important yet more shrouded in mystery. Pedro Domingos, one of the field’s leading lights, lifts the veil for the first time to give us a peek inside the learning machines that power Google, Amazon, and your smartphone. He charts a course through machine learning’s five major schools of thought, showing how they turn ideas from neuroscience, evolution, psychology, physics, and statistics into algorithms ready to serve you. Step by step, he assembles a blueprint for the future universal learner-the Master Algorithm-and discusses what it means for you, and for the future of business, science, and society. If data-ism is today’s rising philosophy, this book will be its bible. The quest for universal learning is one of the most significant, fascinating, and revolutionary intellectual developments of all time. A groundbreaking book, The Master Algorithm is the essential guide for anyone and everyone wanting to understand not just how the revolution will happen, but how to be at its forefront

Kate Flynn has always been a clever girl, brought up to believe in herself as something special. Now Kate is forty-three and has given up her university career in London to come home and look after her mother at Firenze, their big house by a lake in Cardiff. When Kate meets David Roberts, a friend from the old days, she begins to obsess about him: she knows it's because she's bored and hasn't got anything else to do, but she can't stop. Adapting to a new way of life, the connections Kate forges in her new home are to have painful consequences, as the past begins to cast its long shadow over the present…

One of the Norwegian playwright’s most mysterious, symbolic, and lyrical dramas explores the life of architect Halvard Solness, once ruthlessly ambitious, but who, in his later years, not only feels threatened by the younger generation but also fears the decay of his own creativity. A tragic end for one of the most fascinating characters in modern drama

What happens when a trained killer discovers that his true vocation is love? Having survived the killing fields of World War I, Fidelis Waldvogel returns home to his quiet German village and marries the pregnant widow of his best friend who was killed in action. With a suitcase full of sausages and a master butcher's precious set of knives, Fidelis sets out for America, getting as far as North Dakota, where he builds a business, a home for his family — which includes Eva and four sons — and a singing club consisting of the best voices in town. When the Old World meets the New — in the person of Del-phine Watzka — the great adventure of Fidelis's life begins. Delphine meets Eva and is enchanted; she meets Fidelis, and the ground trembles. These momentous encounters will determine the course of Delphine's life — and the trajectory of this brilliant new novel by Louise Erdrich

The prizewinning debut mystery from one of Japan’s best-loved crime writers. The K Apartments for Ladies are occupied by over a hundred unmarried women, once young and lively, now grown and old—and in some cases, evil. Their residence conceals a secret, a secret connecting the unsolved kidnapping in 1951 of four-year-old George Kraft to the clandestine burial of a child’s body in the basement bath-house. So, when news comes that the building must be moved to make way for a road-building project, more than one tenant waits with apprehension for the grisly revelation that will follow. Then the master key is lost, stolen and re-stolen, and suddenly no-one feels safe. Fiendish intrigue, double identity and an ingenious plot make this a thriller worthy of comparison with the work of P.D. James

From Publishers Weekly South African novelist Coetzee takes Fyodor Dostoyevski as his protagonist in a novel set amidst the political ferment of 19th-century Russia. From Library Journal St. Petersburg is poised for revolution as Fyodor Dostoevsky returns from Germany to claim his deceased stepson's papers. Although the police rule Pavel's death a suicide, the famous writer is drawn into a group of shady characters, including the anarchist Nechaev, who is possibly Pavel's killer. Plagued by seizures and tormented by a torrid affair with his stepson's landlady, Dostoevsky struggles to ascertain once and for all a writer's responsibility to his family and society. The strength of South African writer Coetzee (Age of Iron, LJ 8/90) lies in his ability to draw characters and scenes evoking the dark mood of the master's novels. Unfortunately, this story of action and ideas lapses into monotonous debate in its final chapters, but there is much to enjoy despite the flagging plot. Recommended for literary collections

Shanghai, 1926. A city of British Imperial civil servants, American gun-runners, Russian princesses and Chinese gangsters, where heroin is available on room service and everything is for sale. Exotic, sexually liberated and pulsing with life, it is a place and time where anything seems possible. For Richard Field, it represents a brave new world away from the past he is trying to escape. Seconded to the police force, his first moment of active duty is a brutal crime scene. A young White Russian woman, Lena Orlov, lies spreadeagled on her bed, sadistically murdered. As he begins to peer through the gllttering surface to the murky depths beneath, Field sees a world beyond the glamour of the city's expatriate life – a world where everything has its price, and where human life is merely another asset to barter. The key to the investigation seems to be Lena's neighbour, Natasha Medvedev. But can Field trust someone for whom self-preservation is the only goal? And is it wise to fall in love when there is every sign that Natasha herself may be the next victim? In a city where reality is a dangerous luxury, Field is driven into the darkness beyond the dazzle of society to a world where the basest of human needs are met and where the truth seems certain to be a fatal commodity…

Set in the gasslit streets of 1888 London and the wild moors of the countryside beyond, The Master of Rampling Gate tells the story of Julie, a young woman who becomes obsessed with the house her father swore her and her brother to tear down upon his death. Julie can't imagine what lies in wait at Rampling Gate, a spirit that haunted her father for years and now yearns for her flesh. The Master of Rampling Gate is a sublime love story in which Julie struggles to choose between the world of reason and rationality and the dark promises of a creature she is almost helpless to resist

When scandal threatens the star of his network, media baron Maximilian Hart whisks beautiful Chloe away from the prying paparazzi. Where better to hide this innocent beauty than the Hart mansion.? But the handsome tycoon's plan isn't just about protecting his investment – he wants Chloe in his bed! Max might have swept her out of the fire, but Chloe finds herself in a raging inferno: Max is the master player when it comes to business and seduction…

It is the spring of 1945, and the Nazis are eliminating all the witnesses to their horrible crimes, including Jews and foreigners remaining in the prison camps. Kommandant Repp, who is known as a master sniper, decides to hone his sniping abilities by taking a little target practice at the remaining laborers in his own prison camp. But one man escapes and becomes the key to solving the mystery of the cold, calculating Kommandmant Repp and his plans for ending the war. Repp was the master sniper whose deadly talent had come to the notice of British Intelligence as the linchpin of a desperate Nazi plot to reverse the fortunes of the Third Reich at the eleventh hour. But what was the nature of the weapon that Repp was to aim—and who was to be his last target? Allied Intelligence officers Leets, from the U.S., and Outhwaite from England are dispatched to identify and abort his lethal mission. And when they finally learn the truth, the Second World War’s deadliest race against time is on…

"In The Mastermind, David Unger’s compelling antihero reminds us of the effects of privilege and corruption, and how that deadly combo can spill from the public to the private sphere. Unger’s Guillermo Rosensweig is on a hallucinatory journey in which everything seems to go right until it goes terribly, terribly wrong. I couldn’t put this down." — Achy Obejas, author of Ruins "Swaggering, visceral, and sharply astute, The Mastermind is a riveting account of one man’s high-stakes journey to self-reckoning." — Cristina García, author of King of Cuba "David Unger has taken one of the strangest, most sinister affairs in Guatemalan history and, through the power of his imagination and mastery of his art, made it even stranger, richer, disturbingly more human and universal." — Francisco Goldman, author of The Interior Circuit "The Mastermind is a merciless analysis of the dark web of a country, perhaps of a whole continent, and, finally, of all forms of organized power. The novel raises fascinating questions regarding the literary tensions between real-life events and their fictionalization, between Guatemala’s incredible Rosenberg case and Rosensweig, Unger’s imagined alter ego — the way these two characters blur, argue, and battle in the reader’s mind make this an engrossing read.” — Andrés Neuman, author of The Things We Don’t Do By all appearances, Guillermo Rosensweig is the epitome of success. He is a member of the Guatemalan elite, runs a successful law practice, has a wife and kids and a string of gorgeous lovers. Then one day he crosses paths with Maryam, a Lebanese beauty with whom he falls desperately in love…to the point that when he loses her, he sees no other option than to orchestrate his own death. The Mastermind is based on the bizarre real-life story of Rodrigo Rosenberg, a Guatemalan attorney who, in 2009, planned his own assassination after leaving behind a video accusing Guatemalan president Álvaro Colom of his murder. (In April 2011, the New Yorker published an article by David Grann about Rosenberg which has been optioned by Matt Damon for his directorial debut.) This is a fascinating depiction of modern-day Guatemala and the corrupt, criminal, and threatening reality that permeates its society

The fourth in the Strangers and Brothers series begins with the dying Master of a Cambridge college. His imminent demise causes intense rivalry and jealousy amongst the other fellows. Former friends become enemies as the election looms

In The Mastery of Love, don Miguel Ruiz illuminates the fear-based beliefs and assumptions that undermine love and lead to suffering and drama in our relationships. Using insightful stories to bring his message to life, Ruiz shows us how to heal our emotional wounds, recover the freedom and joy that are our birthright, and restore the spirit of playfulness that is vital to loving relationships