When Hera, immortal goddess and daughter of the ancient Titan Cronus, helps her brother Zeus to overthrow their tyrannical father, she dreams of ruling at his side.

As they establish their reign on Mount Olympus, Hera suspects that Zeus might be just as ruthless and cruel as the father they betrayed.

She was always born to rule, but must she lose herself in perpetuating this cycle of violence and cruelty? Or can she find a way to forge a better world?

Often portrayed as the jealous wife or the wicked stepmother, this retelling captures the many sides of Hera, vengeful when she needs to be but also compassionate and most importantly, an all-powerful queen to the gods.

The Little Prince is a modern fable, and for readers far and wide both the title and the work have exerted a pull far in excess of the book's brevity. Written and published first by Antoine de St-Exupery in 1943, only a year before his plane disappeared on a reconnaissance flight, it is one of the world's most widely translated books, enjoyed by adults and children alike. In the meeting of the narrator who has ditched his plane in the Sahara desert, and the little prince, who has dropped there through time and space from his tiny asteroid, comes an intersection of two worlds, the one governed by the laws of nature, and the other determined only by the limits of imagination. The world of the imagination wins hands down, with the concerns of the adult world often shown to be lamentably silly as seen through the eyes of the little prince. While adult readers can find deep meanings in his various encounters, they can also be charmed back to childhood by this wise but innocent infant. This popular translation contains the author's own delightful illustrations, bringing to visual life the small being at the tale's heart, and a world of fantasy far removed from any quotidian reality. It is also a sort of love story, in which two frail beings, the downed pilot and the wandering infant-prince who has left behind all he knows, share their short time together isolated from humanity and finding sustenance in each other. This is a book which creates a unique relationship with each reader, whether child or adult.

Tense Future falls into two parts. The first develops a critical account of total war discourse and addresses the resistant potential of acts, including acts of writing, before a future that looks barred or predetermined by war. Part two shifts the focus to long interwar narratives that pit both their scale and their formal turbulence against total war's portrait of the social totality, producing both ripostes and alternatives to that portrait in the practice of literary encyclopedism. The book's introduction grounds both parts in the claim that industrialized warfare, particularly the aerial bombing of cities, intensifies an under-examined form of collective traumatization: a pretraumatic syndrome in which the anticipation of future-conditional violence induces psychic wounds. Situating this claim in relation to other scholarship on "critical futurities," Saint-Amour discusses its ramifications for trauma studies, historical narratives generally, and the historiography of the interwar period in particular. The introduction ends with an account of the weak theory of modernism now structuring the field of modernist studies, and of weak theory's special suitability for opposing total war, that strongest of strong theories.

Foams are ubiquitous in our daily lives. Their presence is highly desirable in certain foods, drinks and cosmetics, and they are essential in oil recovery and mineral extraction. In some industrial processes (such as the manufacture of glass, paper and wine) foams are an unwelcome by-product. Why do they appear? What controls the rate at which they disappear? Do they flow in the same way as ordinary liquids? All of these questions and more are addressed here, incorporating significant recent contributions to the field of foams. This book is the first to provide a thorough description of all aspects of the physico-chemical properties of foams. It sets out what is known about their structure, their stability, and their rheology. Engineers, researchers and students will find descriptions of all the key concepts, illustrated by numerous applications, as well as experiments and exercises for the reader. A solutions manual for lecturers is available via the publisher's web site.

The Little Prince is a modern fable, and for readers far and wide both the title and the work have exerted a pull far in excess of the book’s brevity. Written and published first by Antoine de St-Exupéry in 1943, only a year before his plane disappeared on a reconnaissance flight, it is one of the world’s most widely translated books, enjoyed by adults and children alike.

In the meeting of the narrator who has ditched his plane in the Sahara desert, and the little prince, who has dropped there through time and space from his tiny asteroid, comes an intersection of two worlds, the one governed by the laws of nature, and the other determined only by the limits of imagination. The world of the imagination wins hands down, with the concerns of the adult world often shown to be lamentably silly as seen through the eyes of the little prince. While adult readers can find deep meanings in his various encounters, they can also be charmed back to childhood by this wise but innocent infant. This popular translation contains the author’s own delightful illustrations, bringing to visual life the small being at the tale’s heart, and a world of fantasy far removed from any quotidian reality. It is also a sort of love story, in which two frail beings, the downed pilot and the wandering infant-prince who has left behind all he knows, share their short time together isolated from humanity and finding sustenance in each other.

This is a book which creates a unique relationship with each reader, whether child or adult.

The Little Prince describes his journey from planet to planet, each tiny world populated by a single adult. It's a wonderfully inventive sequence, which evokes not only the great fairy tales but also such monuments of postmodern whimsy.

The author pokes similar fun at a businessman, a geographer, and a lamplighter, all of whom signify some futile aspect of adult existence.