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In 1761, a tiny, odd-looking girl named Marie is born in a village in Switzerland. After the death of her parents, she is apprenticed to an eccentric wax sculptor and whisked off to the seamy streets of Paris, where they meet a domineering widow and her quiet, pale son. Together, they convert an abandoned monkey house into an exhibition hall for wax heads, and the spectacle becomes a sensation. As word of her artistic talent spreads, Marie is called to Versailles, where she tutors a princess and saves Marie Antoinette in childbirth. But outside the palace walls, Paris is roiling....

The Iremongers are a mean and cruel family, robust and hardworking, living in the Heaps, a vast sea of lost and discarded items. A storm is brewing over Heap House. The Iremongers are growing restless and the whispers are getting louder. When Clod meets Lucy, a girl newly arrived from the city, everything changes. The secrets that bind Heap House together begin to unravel to reveal a dark truth that threatens to destroy Clod's world.

Née à Strasbourg en 1761, la jeune Marie Grosholz, future madame Tussaud, est employée dès son plus jeune âge comme apprentie par un sculpteur sur cire. Lorsque le duo devient célèbre à Paris pour ses réalisations, Marie a pour modèles les plus grandes personnalités de l'époque : Voltaire, Rousseau, Benjamin Franklin, etc. Bientôt elle est accueillie à la Cour où elle prodigue des leçons de sculpture à la princesse Élisabeth, sœur du roi. En 1789, la capitale entre en ébullition, la foule exige des têtes.

In the small Tuscan town of Collodi, a lonely woodcarver longs for the companionship of a son. One day, "as if the wood commanded me", Giuseppe - better known as Geppetto - carves for himself a pinewood boy, a marionette he hopes to take on tour worldwide. But when his handsome new creation comes magically to life, Geppetto screams...and the boy, Pinocchio, leaps from his arms and escapes into the night.

The year is 1901. England’s beloved queen has died, and her aging son has finally taken the throne. In the eastern city of Norwich, bright and inquisitive young Edith Holler spends her days among the boisterous denizens of the Holler Theatre, warned by her domineering father that the playhouse will literally tumble down if she should ever leave its confines. Fascinated by tales of the city she knows only from afar, she decides to write a play of her own: a stage adaptation of the legend of Mawther Meg.

Foulsham has been destroyed. Darkness lies heavily over the city; the sun has not come up for days. Inside the houses throughout the capital, ordinary objects have begun to move. There are rumours of a terrible contagion. From the richest mansion to the poorest slum, people have disappeared. The police have been instructed to carry arms. Someone has stolen a certain plug. Someone is lighting a certain box of matches. All will come tumbling down. The Iremongers have come to London.

Nel 1761, una minuscola bambina di nome Marie viene alla luce in un villaggio in Svizzera. Qualche anno più tardi, dopo la morte dei genitori, Marie è presa in casa dal dottor Curtius, un uomo eccentrico e solitario che vive a Berna. Ma Curtius non è propriamente un dottore, è piuttosto un artista, uno scultore della cera: figlio di un famoso anatomista, lavora per l'ospedale della città come modellista, riproducendo parti del corpo umano.

In the aptly named borough of Foulsham, Grandfather Umbitt Iremonger has found a way of making everyday objects assume human shape, and turning real people into objects. Lucy Pennant has been discarded as a clay button, abandoned in the Heaps. Meanwhile, Clod has been turned into a gold coin and is being passed as currency through the town. Everywhere people are searching for Clod, who, it is believed, has the power to bring the mighty Umbitt down.

E se Geppetto e Pinocchio non si fossero incontrati nel ventre della balena? Edward Carey, narratore dall'estro geniale e dalla sensibilità fiabesca, reinterpreta in questo romanzo una delle storie più amate della letteratura internazionale: dopo aver tentato senza fortuna di salvare suo figlio in mare, Geppetto rimane intrappolato da solo nella pancia del gigantesco animale. Qui, costretto al buio e ai difficili umori della sua nuova casa, si trova a riflettere sulla sua condizione di uomo, di padre, di figlio, di naufrago.

Nel centro di una città, in quella zona abitata da gente con un po’ troppo denaro, c’è un parco. Al centro del parco c’è un piedistallo sprovvisto di statua. Ogni mattina prende il suo posto una statua di carne, coperta di vernice bianca da capo a piedi, immobile creatura di immacolata bianchezza che si anima per un attimo quando apre gli occhi per soffiare una bolla di sapone all’indirizzo di chi le offra il proprio obolo.

An Unferth story lures you in with a voice that seems amiable and lighthearted, but it swerves in sudden and surprising ways that reveal, in terrifying clarity, the rage, despair, and profound mournfulness that have taken up residence at the heart of the American dream. These stories often take place in an exaggerated or heightened reality, a quality that is reminiscent of the work of Donald Barthelme, Lorrie Moore, and George Saunders, but in Unferth's unforgettable collection she carves out territory that is entirely her own.

Richard Edward Carey came from a broken home. Enlisting in the Corps in 1946 he later earned a commission, fighting at Inchon and Chosin in Korea before becoming a pilot. During his thirty-eight-year military career he witnessed and participated in major historical events, though a high school wrestling injury would eliminate him from the Mercury-7 space program. As a second lieutenant, he tackled General Douglas MacArthur on the way to Seoul in 1950. Carey would provide critical intelligence decisions enabling the successful defense of the Chinese attack on Hagaru-ri at the Chosin Reservoir.