Welcome to Wayward Pines, population 461. Nestled amidst picture-perfect mountains, the idyllic town is a modern-day Eden... except for the electrified fence and razor wire, snipers scoping everything 24/7, and the relentless surveillance tracking each word and gesture.

None of the residents know how they got here. They are told where to work, how to live, and who to marry. Some believe they are dead. Others think they’re trapped in an unfathomable experiment. Everyone secretly dreams of leaving, but those who dare face a terrifying surprise.

Ethan Burke has seen the world beyond. He’s sheriff, and one of the few who knows the truth—Wayward Pines isn’t just a town. And what lies on the other side of the fence is a nightmare beyond anyone’s imagining.

As sheriff, Ethan Burke is tasked with enforcing the town’s laws, and he’s one of the few entrusted with the truth—even though, for all his knowledge, he’s as much a prisoner of Wayward Pines as anyone else. But when a murder investigation draws him deeper into the town’s inner workings, Ethan learns that its past is darker than even he suspected—and finds himself faced with an impossible choice.

Her city is under siege. The zombies are coming back. And all Nona wants is a birthday party.

In many ways, Nona is like other people. She lives with her family, has a job at her local school, and loves walks on the beach and meeting new dogs. But Nona is not like other people. Six months ago she woke up in a stranger's body, and she's afraid she might have to give it back.

The whole city is falling to pieces. A monstrous blue sphere hangs on the horizon, ready to tear the planet apart. Blood of Eden forces have surrounded the last Cohort facility and wait for the Emperor Undying to come calling. Their leaders want Nona to be the weapon that will save them from the Nine Houses. Nona would prefer to live an ordinary life with the people she loves, with Pyrrha and Camilla and Palamedes, but she also knows that nothing lasts forever.

And each night, Nona dreams of a woman with a skull-painted face...

Dystopia, Utopia, and the realm of Gỗds intersect through the inter-dimensional Sëeing's of one girl, Maya; The Inbetween. Humanity's channel between life and death.

Natural disasters have devastated planet Earth and all remaining life is contained in one City. A City of iron and technology where the citizens are safe but they are not free. Until recently, MAYA lived there in hiding, painting visions of a vibrant valley where nature still thrives. She's a Sëer, a Mystic, a Feeler... and a Rebel.

Life imitates art when she sees the man she paints—a young, bright-eyed German officer, BJÖRN—who tells her the world she's been painting is real, and he's determined to find it.

In a race against the Control and a quest for truth and freedom, they escape the City and cross dimensions to seek the help of a sophisticated race of beings—keepers of the Earth's sacred mysteries—to save it from total self-destruction.

The Foundation Pit portrays a group of workmen and local bureaucrats engaged in digging the foundation pit for what is to become a grand 'general' building where all the town's inhabitants will live happily and 'in silence.'

Written at the height of Stalin's first "five-year plan" for the industrialization of Soviet Russia and the parallel campaign to collectivize Soviet agriculture, Andrei Platonov's The Foundation Pit registers a dissonant mixture of utopian longings and despair. Furthermore, it provides essential background to Platonov's parody of the mainstream Soviet "production" novel, which is widely recognized as one of the masterpieces of twentieth-century Russian prose.

In addition to an overview of the work's key themes, it discusses their place within Platonov's oeuvre as a whole, his troubled relations with literary officialdom, the work's ideological and political background, and key critical responses since the work's first publication in the West in 1973.