Search Worlds Without End

Ninety years from now, a satellite detects a nearby black hole scientists dub Kali for the Hindu goddess of destruction. Humanity embarks on a generations-long project to tap the energy of the black hole, and found colonies on planets across the solar system. Earth and Mars and the moons Europa (Jupiter) and Titan (Uranus) develop radically different societies, with only Kali, that swirling vortex of destruction and creation, and the hated but crucial Artificial Accretion Disk Development association (AADD) in common.

An enticing collection of tales told in the fabulist and metafiction traditions, Lost Cantos of the Ouroboros Caves embraces a cyclical movement of renewal, like the ancient ouroboros motif itself, in which artfully rendered answers always give rise to perplexing new questions. Maggie Schein's stories introduce medicine men, monks, immortals, witches, seekers, and souls in various stages of their cycles in and out of lived life, as well as the occasional talking animal, all searching for meaning and for connections to one another through storytelling. Each fable is a meditation on love, death, growth, pain, identity, self, spirit, cruelty, beauty, and the natural order, as seen from the perspectives of the primal, the celestial, or the spiritual.

Rooted in the archetypes of mythology and philosophy, Schein's lost cantos are stories about the events that make up our lives and our deaths. She makes deft use of familiar forms and universal symbols to explore anew through narrative those questions and experiences that have always vexed us about our confounding existence and the speculative possibilities that abound within and beyond the moral coil. Schein's tales ask us to reconsider what it means to live and to die, to be simultaneously a creature of magic and the mundane, of the extraordinary and the all-too-ordinary. The result is a delicate but potent collection of alluring fables for the modern reader, recalling classical stories and myths of days long past and asking once more the questions that continue to haunt us.

This expanded edition adds three new fables not included in the original edition as well as new illustrations for all eleven stories from artist Jonathan Hannah.

Maybe I have always just been bad at being human because I'm not one.

Gem Echols is a nonbinary Seminole teen living in the tiny town of Gracie, Georgia. Known for being their peers' queer awakening, Gem leans hard on charm to disguise the anxious mess they are beneath. The only person privy to their authentic self is another trans kid, Enzo, who's a thousand long, painful miles away in Brooklyn.

But even Enzo doesn't know about Gem's dreams, haunting visions of magic and violence that have always felt too real. So how the hell does Willa Mae Hardy? The strange new girl in town acts like she and Gem are old companions, and seems to know things about them they've never told anyone else.

When Gem is attacked by a stranger claiming to be the Goddess of Death, Willa Mae saves their life and finally offers some answers. She and Gem are reincarnated gods who've known and loved each other across lifetimes. But Gem -- or at least who Gem used to be - hasn't always been the most benevolent deity. They've made a lot of enemies in the pantheon--enemies who, like the Goddess of Death, will keep coming.

It's a good thing they've still got Enzo. But as worlds collide and the past catches up with the present, Gem will discover that everyone has something to hide.

That day at the First Church of Gracie changed everything for Gem Echols, and not just because Marian and Poppy betrayed them. Forced to use the Ouroboros knife on Zephyr, who had kidnapped their parents, Gem now has the power of the God of Air

While for any other god things might work out okay, the Magician--whose role within the pantheon is to keep the balance--having the power of another god has thrown everything into chaos. The Goddess of Death can now reanimate corpses; the God of Art's powers are now corrupted and twisted, giving life to his macabre creations; and, while the God of Land has always been able to communicate with creatures of the Earth, now everyone can hear their cries

As Gem, Rory, and Enzo search for a way to restore the balance without sacrificing themselves, new horrors make them question how far they're willing to go. In the end, Gem may be forced to fully embrace their merciless nature and kill off their own humanity--if it ever really existed in the first place.

The Worm Ourorobos is second only to the Lord of the Rings in the pantheon of 20th century English fantasy. E.R. Eddison, who moved in the same literary circles as Tolkien, was praised by Tolkien as "The greatest and most convincing writer of 'invented worlds' that I have read."

The Worm Ourorbos was originally published in a very limited and now very rare edition in 1922 (a used first edition recently listed for $3,750). Eddison wrote three sequels set in roughly the same universe, but none of them have the sustained pacing and invention of Ouroboros.

Before diving in, there are a few things to be aware of. The rich language Eddison uses is based on Tudor and Jacobean English, with some modern anachronisms; it may take some getting used to, and occasionally a trip to the unabridged Oxford English Dictionary. The narrator, one Lessingham, who appears in a very brief framing sequence, disappears a few dozen pages in. The book is set on Mercury; however, keep in mind this is not science fiction, so this is not literally the planet Mercury. Eddison on several occasions in the body of the book calls the world 'Middle Earth', and the setting is recognizably the Midgard of the Norse myths and sagas, although for some unexplained reason the denizens worship the Greek pantheon. The cast of characters, like Tolkien, are principally masculine, albeit with a couple of standout female leads. And lastly the various nationalities (Demons, Witches, Pixies, Imps, etc.) are not really separate species as in Tolkien; they are all essentially humans.