The start of an edge-of-your-seat, action‑packed fantasy series from the irreverent Jackson Ford, where a wild band known as the Bone Raiders harness the power of gigantic, fire-breathing lizards to defend their homeland.

'A ton of fun. The premise is awesome, the found-family dynamic is masterfully executed, the dialogue is wicked-sharp and frequently hilarious'Nick Eames, author of Kings of the Wyld

You don't mess with the Rakada. The people living in the grasslands of the Tapestry call them the Bone Raiders, from their charming habit of displaying the bones of those they kill on their horses and armour.

But being a raider is tough these days. There's a new Great Khan in the Tapestry. He's had it with the raider clans, and plans to use his sizeable military to do something about it. And then there are the araatan: fire-breathing lizards the size of elephants, roaming the grasslands in search of dwindling food supplies.

Sayana is a Rakada scout, and she loves her job. But if she wants to keep it, she's going to have to do something drastic. Like convincing her clan to ride araatan, instead of horses. Sayana doesn't quite know how to get that done without being eaten and/or cooked alive, but she'd better figure it out fast - or she and her clan, along with every other raider in the Tapestry, will be wiped out.

Praise for Jackson Ford:
'An un-put-downable, action-packed adventure that packs an emotional punch'Kirkus
'Proceeds at breakneck speed through almost five hundred pages of madcap adventure' Guardian
'Fast-paced and a lot of fun . . . A modern action movie that just happens to be in book form' The Fantasy Inn
'Ford's breakneck pace keeps the tension high, and the thrills coming the whole way through' BookPage

'FAST-PACED AND A LOT OF FUN . . . A MODERN ACTION MOVIE THAT JUST HAPPENS TO BE IN BOOK FORM' The Fantasy Inn on The Girl Who Could Move Sh*t with her Mind Full of imagination, wit and random sh*t flying though the air, this insane new Frost Files adventure will blow your tiny mind. Teagan Frost has enough sh*t to deal with, between her job as a telekinetic government operative and a certain pair of siblings who have returned from the dead to wreak havoc with their powers. But little does she know, things are about to get even more crazy . . . Teagan might have survived the flash-flood of the century, but now she's trapped in a hotel by a bunch of gun-toting maniacs. And to make matters worse, her powers have mysteriously disappeared. Faced with certain death at every turn, Teagan will need to use every resource she has to stop a plot that could destroy Los Angeles - maybe even the entire world. 'Ford's rip-roaring fourth Frost Files paranormal thriller splits up psychokinetic government operative Teagan Frost and her team, forcing all to face dangerous foes at a steep disadvantage . . . There's never a dull moment as Teagan and friends fly by the seat of their pants to save lives. The result will keep readers laughing and well entertained' Publishers Weekly Praise for the Frost Files series: 'An un-put-downable, action-packed adventure that packs an emotional punch' Kirkus 'Proceeds at breakneck speed through almost five hundred pages of madcap adventure' Guardian 'A drunken back-alley brawler of a book' Robert Brockway, author of The Unnoticeables 'Ford's breakneck pace keeps the tension high, and the thrills coming the whole way through' BookPage 'A fast-paced, high-adrenaline tale' Kirkus The Frost Files novels The Girl Who Could Move Sh*t With Her Mind Random Sh*t Flying Through the Air Eye of the Sh*t Storm A Sh*tload of Crazy Powers

Full of imagination, wit and random sh*t flying through the air, this high-octane adventure from an irreverent new voice in genre fiction will blow your tiny mind.

Teagan Frost is having a hard time keeping it together. Sure, she's got telekinetic powers - a skill that the government is all too happy to make use of, sending her on secret breaking missions that no ordinary human could carry out. But all she really wants to do is kick back, have a beer, and pretend she's normal for once. But then a body turns up at the site of her last job - murdered in a way that only someone like Teagan could have pulled off. She's got 24 hours to clear her name - and it's not just her life at stake.

If she can't unravel the conspiracy in time, her hometown of Los Angeles will be in the crosshairs of an underground battle that's on the brink of exploding . . .

Full of imagination, wit and random sh*t flying through the air, this insane new Frost Files adventure will blow your tiny mind.

Teagan Frost's life is finally back on track. Her role working for the government as a telekinetic operative is going well and she might even be on course for convincing her crush to go out with her. But, little does she know, that sh*t is about to hit the fan . . .

A young boy with the ability to cause earthquakes has come to Los Angeles - home to the San Andreas, one of the most lethal fault lines in the world. If Teagan can't stop him, the entire city - and the rest of California - could be wiped off the map.

'AN UN-PUT-DOWN-ABLE, ACTION-PACKED ADVENTURE THAT PACKS AN EMOTIONAL PUNCH' Kirkus Full of imagination, wit and random sh*t flying through the air, this insane new Frost Files adventure will blow your tiny mind. Teagan Frost might be getting better at moving sh*t with her mind - but her job working as a telekinetic government operative only ever seems to get harder. That's not even talking about her car-crash of a love life . . . And things are about to get even tougher. No sooner has Teagan chased off one psychotic kid hell-bent on trashing the whole West Coast, but now she has to contend with another supernatural being who can harness devastating electrical power. And if Teagan can't stop him, the whole of Los Angeles will be facing the sh*tstorm of the century . . . 'A non-stop adrenaline high. Fans of the series will be eagerly awaiting the further adventures of Teagan and her cohorts, and newcomers will quickly fall in love with Jackson's quirky cast of characters, imaginative storytelling, and wry wit' Library Journal Praise for the Frost Files series: 'Proceeds at breakneck speed through almost 500 pages of madcap adventure' Guardian 'Fast-paced and a lot of fun to read . . . a modern action movie that just happens to be in book form' The Fantasy Inn 'A drunken back-alley brawler of a book' Robert Brockway, author of The Unnoticeables 'Ford's breakneck pace keeps the tension high, and the thrills coming the whole way through' BookPage 'A fast-paced, high-adrenaline tale' Kirkus The Frost Files novels: The Girl Who Could Move Sh*t With Her Mind Random Sh*t Flying Through the Air Eye of the Sh*t Storm

A deft study of the evolving literary aesthetic of one of the first avant-garde black writers in America. In Split-Gut Song, Karen Jackson Ford looks at what it means to be African American, free, and creative by analyzing Jean Toomer's main body of work, specifically, his groundbreaking creation Cane. When first published in 1923, this pivotal work of modernism was widely hailed as inaugurating a truly artistic African American literary tradition. Yet Toomer's experiments in literary form are consistently read in terms of political radicalism-protest and uplift-rather than literary radicalism. Ford contextualizes Toomer's poetry, letters, and essays in the literary culture of his period and, through close readings of the poems, shows how they negotiate formal experimentation (imagism, fragmentation, dialect) and traditional African American forms (slave songs, field hollers, call-and-response sermons, lyric poetry). At the heart of Toomer's work is the paradox that poetry is both the saving grace of African American culture and that poetry cannot survive modernity. This contradiction, Ford argues, structures Cane, wherein traditional lyric poetry first flourishes, then falters, then falls silent. The Toomer that Ford discovers in Split-Gut Song is a complicated, contradictory poet who brings his vexed experience and ideas of racial identity to both conventional lyric and experimental forms. Although Toomer has been labelled a political radical, Ford argues that politics is peripheral in his experimental, stream-of-consciousness work. Rather Toomer exhibits a literary radicalism as he struggles to articulate his perplexed understanding of race and art in 20th-century America.

Crime thriller set in Derby and London. Written by John Leonard Spragg.

The argument posed in this analysis is that the poetic excesses of several major female poets, excesses that have been typically regarded as flaws in their work, are strategies for escaping the inhibiting and sometimes inimical conventions too often imposed on women writers. The forms of excess vary with each poet, but by conceiving of poetic excess in relation to literary decorum, this study establishes a shared motivation for such a strategy.

Literary decorum is one instrument a culture employs to constrain its writers. Perhaps it is the most effective because it is the least definable. The excesses discussed here, like the criteria of decorum against which they are perceived, cannot be itemized as an immutable set of traits.

Though decorum and excess shift over time and in different cultures, their relationship to one another remains strikingly stable. Thus, nineteenth-century standards for women's writing and late twentieth-century standards bear almost no relation. Emily Dickinson's do not anticipate Gertrude Stein's or Sylvia Plath's or Jayne Cortez's or Ntozake Shange's.

Yet the charges of indecorousness leveled at these women poets repeat a fixed set of abstract grievances. Dickinson, Stein, Plath, Cortez, and Shange all engage in a poetics of excess as a means of rejecting the limitations and conventions of "female writing" that the larger culture imposes on them. In resisting conventions for feminine writing, these poets developed radical new poetries, yet their work was typically criticized or dismissed as excessive. Thus, Dickinson's form is classified as hysterical and her figures tortured. Stein's works are called repetitive and nonsensical. Plath's tone is accused of being at once virulent and confessional, Cortez's poems violent and vulgar, Shange's work vengeful and self-righteous. The publishing history of these poets demonstrates both the opposition to such an aesthetic and the necessity for it.

Karen Jackson Ford is a professor in the English department at the University of Oregon.