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She has a nice apartment on the lower levels of the wealthy and walled-off Wiley City. Now what once made her marginalized has finally become an unexpected source of power.

Identified as an outlier and therefore a perfect candidate for multiverse travel, Cara is plucked from the dirt of the wastelands. On this dystopian Earth, however, Cara has survived. CaraвЂ™s life has been cut short on 372 worlds in total. Enter Cara, whose parallel selves happen to be exceptionally good at dying-from disease, turf wars, or vendettas they couldnвЂ™t outrun.

Book Riot Multiverse travel is finally possible, but thereвЂ™s just one catch: No one can visit a world where their counterpart is still alive.

вЂњGorgeous writing, mind-bending world-building, razor-sharp social commentary, and a main character who demands your attention-and your allegiance.вЂќ-Rob Hart, author of The Warehouse NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR.

An outsider who can travel between worlds discovers a secret that threatens the very fabric of the multiverse in this stunning debut, a powerful examination of identity, privilege, and belonging.

NEW YORK TIMES BOOK REVIEW EDITORSвЂ™ CHOICE However, Mathan makes it clear that not living up to their agreement is a death sentence for Taro's family.

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When the time comes to free the sorceress and collect his pay, Taro is horrified to find that her freedom will lead to the deaths of his friends and thousands of others. The courses are grueling, the trials drive students mad, and the magic they teach can be as deadly to the caster as it is to the target. To get to her, Taro must pose as a Magisterium recruit. Mathan wants him to break a powerful sorceress out of jail, but her prison is under the control of an ancient military order called the Magisterium. Mathan deals in stolen magical artifacts and trusts Taro to finish his work with as few questions as possible.When an absurdly well-paying job comes up, Taro is quick to volunteer. For years he's worked for a notorious crime lord named Victor Mathan. Sixteen-year-old Taro lost his right leg years ago, but with a family to support, he doesn't let it slow him down. WebsterвЂ™s irreverence for traditional ideals and institutions combines with a humanist sense of manвЂ™s-and womanвЂ™s-potential to make an important contribution to the preвЂ“revolutionary movement. WebsterвЂ™s dramatizations of the judgment situation are shown to embody specific commentary on the legal system of his time, commentary that ranges in orientation from anarchist to reformist to revolutionary.

Special attention is given to WebsterвЂ™s theatrical representations of legal practice and legal philosophy as key manifestations of the realities of political power. WebsterвЂ™s satire of princes and prelates, his iconoclastic view of traditional philosophy, his trenchant analysis of institutions are seen as part of an intellectual movement that was undermining faith in the old order. Through detailed analysis of four plays, The White Devil, The Duchess of Malfi, The DevilвЂ™s Law Case, and Appius and Virginia, Goldberg explores the relations between Webster and aspects of Jacobean social and intellectual history. If Webster was part of a dying culture, he was also-and it is this that Webster criticism has almost consistently ignored-a member of the generation that prepared the way for the revolution of 1640вЂќ (Introduction). As such, the critical energy we find in the plays was sustained, not by ideological certainty, but rather by interaction with the great complexity of thought and action-much of it negative-that constitutes a pre-revolutionary movement. вЂњWebsterвЂ™s iconoclasm was not the lonely experience of an alienated intellectual, but part of his generationвЂ™s struggle to create the future.