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Broken down in the Sahara Desert, a pilot meets an extraordinary Little Prince, travelling across time and space to bring peace to his warring planet. Inua Ellams' magical retelling of the much loved story by Antoine de Saint-Exupéry turns the Little Prince into a descendant of an African race in a parallel galaxy. His journey as a galactic emigrant takes us through solar systems of odd planets with strange beings, addresses climate change and morality, and shows how even a little thing can make a big difference.

Serena Sweetmay is Perfect. Serena Sweetmay is beautiful and clever; she's good at school, is always chosen for the best parts in any activity, and so when Aimee's class is selected to perform the school's Christmas play, everyone knows exactly who's going to be the star of the show. But for once, just once, Aimee wants to shine, and to do that she has to out-angel the perfect Serena Sweetmay. Luckily though, she has a plan, so nothing can go wrong. Can it?

This book is a literary analysis of J.M. Barrie's Peter Pan in all its different versions -- key rewritings, dramatisations, prequels, and sequels -- and includes a synthesis of the main critical interpretations of the text over its history. A comprehensive and intelligent study of the Peter Pan phenomenon, this study discusses the book's complicated textual history, exploring its origins in the Harlequinade theatrical tradition and British pantomime in the nineteenth century. Stirling investigates potential textual and extra-textual sources for Peter Pan, the critical tendency to seek sources in Barrie's own biography, and the proliferation of prequels and sequels aiming to explain, contextualize, or close off, Barrie's exploration of the imagination. The sources considered include Dave Barry and Ridley Pearson's Starcatchers trilogy, Régis Loisel's six-part Peter Pan graphic novel in French (1990-2004), Andrew Birkin's The Lost Boys series, the films Hook (1991), Peter Pan (2003) and Finding Neverland (2004), and Geraldine McCaughrean's \"official sequel\" Peter Pan in Scarlet (2006), among others.

Many authors draw from headlines or movies rather than personal experience to write drug-related scenes, and the result may be more fiction than fact. So, how can you craft a convincing scene involving accidental use of fentanyl-tainted pot or a murder attempt with grandma's pain pills? A much-needed resource, The Grim Reader details how to write medical scenarios that result in realistic page-turners. As drug inaccuracies multiply in screenplays, scripts, novels, and audio plays, Dr. Miffie Seideman, Pharm.D. provides writers (and editors) with the background and authenticity necessary to develop plausible plotlines, including: • Pertinent drug facts, tips, and symptoms • Symptom timelines • Tips for developing historically accurate scenes • Common street drug names and slang • Sample scenarios to demonstrate how to weave the information into a believable scene • Writing prompts to provide scene starters and offer practice Combining Seideman's pharmacology knowledge with her love for creative writing, The Grim Reader is the ultimate guide to help authors craft accurate drug scenes and avoid medical mistakes.

A talking body part, a character that is simultaneously alive and dead, a shape-changing setting, or time travel: although impossible in the real world, such narrative elements do appear in the storyworlds of novels, short stories, and plays. Impossibilities of narrator, character, time, and space are not only common in today's world of postmodernist literature but can also be found throughout the history of literature. Examples include the beast fable, the heroic epic, the romance, the eighteenth-century circulation novel, the Gothic novel, the ghost play, the fantasy narrative, and the science-fiction novel, among others.Unnatural Narrativelooks at the startling and persistent presence of the impossible or \"the unnatural\" throughout British and American literary history. Layering the lenses of cognitive narratology, frame theory, and possible-worlds theory,Unnatural Narrativeoffers a rigorous and engaging new characterization of the unnatural and what it yields for individual readers as well as literary culture. Jan Alber demonstrates compelling interpretations of the unnatural in literature and shows the ways in which such unnatural phenomena become conventional in readers' minds, altogether expanding our sense of the imaginable and informing new structures and genres of narrative engagement.

The short story “O Venice..!” by Ukrainian writer Borys Fynkelshteyn presents an intriguing narrative that constructs an alternative historical reality around William Shakespeare’s play “The Merchant of Venice,” exploiting metamodern approaches to seek authenticity and historical reliability. Through the lens of his own family history, Fynkelshteyn delves into a mythologized account of a Sephardi relative who was a usurer in Venice, offering a fresh perspective on the character of Shylock. It has been studied that by weaving the elements of autobiography and fiction, the author provides an exploration of the past, highlighting the subjective nature of historical interpretation and the complexity of human motivations. This approach invites readers to reconsider traditional narratives and engage with history in a more nuanced and personal way. In “O Venice..!,” Fynkelshteyn underlines the phenomenology of literary creativity and the intricacies of working with historical material, drawing on new historicism approaches to deepen the understanding of a character from Shakespeare’s play. The finding of the research is that through the use of authentic historical sources and a real-life prototype, the author highlights the evolving nature of storytelling and the enduring impact of past events on contemporary artistic creation. Fynkelshteyn’s portrayal of Shylock in “O Venice..!” challenges the traditional perception of the character as a bloodthirsty and anti-humane figure by delving into his complex psychology shaped by his Jewish upbringing and banking experience.

If you could spend eternity with just one precious memory, what would it be? A group of strangers grapple with this impossible question as they find themselves in a bureaucratic waiting room between life and death. Encouraged by enigmatic officials, they must sift through their past lives to choose their forever. Adapted from Hirokazu Kore-eda's award-winning film, After Life is a new co-production with Headlong.

The QAnon movement, which gained a lot of traction in recent years, defies categorization: is it a conspiracy theory, a new mythology, a social movement, a religious cult, or an alternate reality game? How did the posts of a (supposedly) anonymous government insider named Q on an obscure online imageboard in October 2017 instigate a serious conspiracy movement taking part in the storming of the US Capitol in early 2021? Returning to the origins of QAnon on 4chan’s Politically Incorrect board and its initial reception as a potential LARP, we analyze it as an instance of participatory online play that fosters deep engagement above all. Drawing on concepts from play and performance studies, we theorize the dynamics by which QAnon developed into an influential conspiracy narrative as instances of “conspiracy fictioning.” In particular, we revive the notion of hyperstition to make sense of how such conspiracy fictionings work to recursively “bootstrap” their own alternate realities into existence. By thus exploring the participatory and playful engagement mechanisms that drive today’s conspiracy movements, we aim to elucidate the epistemological and socio-political dynamics that mark the growing entanglement of play and politics, fact and fiction in society.