Murderbot—the sardonic, almost-homicidal, media-loving android created by Martha Wells—has proven to be one of the most popular characters in 21 st century science fiction. Everything that makes this protagonist (it would be wrong to call Murderbot a hero) beloved of fans is on display in Compulsory.

While trying to watch episode 44 of The Rise and Fall of Sanctuary Moon, Murderbot is—again, what is it with humans?—distracted by something that is technically outside its purview. A miner is suddenly in danger following a pointless (to Murderbot’s way of thinking) argument, and the choice is to risk discovery and leap into action, which would require hitting the pause button during a very exciting part of SanctuaryMoon, or to follow orders and stay still.

This is a tougher choice than it seems. But then, when has Murderbot ever been faced with an easy choice?

Murderbot wasn't programmed to care. So, its decision to help the only human who ever showed it respect must be a system glitch, right? Having traveled the width of the galaxy to unearth details of its own murderous transgressions, as well as those of the GrayCris Corporation, Murderbot is heading home to help Dr. Mensah—its former owner (protector? friend?)—submit evidence that could prevent GrayCris from destroying more colonists in its never-ending quest for profit.

But who's going to believe a SecUnit gone rogue? And what will become of it when it's caught?

SciFi's favorite antisocial A.I. is back on a mission. The case against the too-big-to-fail GrayCris Corporation is floundering, and more importantly, authorities are beginning to ask more questions about where Dr. Mensah's SecUnit is. And Murderbot would rather those questions went away. For good.

Rogue Protocol is the third in the Murderbot Diaries series, starring a human-like android who keeps getting sucked back into adventure after adventure, though it just wants to be left alone, away from humanity and small talk.

White Fragility is an in-depth exploration of the counterproductive reactions white people exhibit when their assumptions about race are challenged. This phenomenon, known as white fragility, is characterized by a variety of emotions and behaviors, such as anger, fear, guilt, argumentation, and silence, which serve to reinstate white racial equilibrium and obstruct meaningful cross-racial dialogue.

Anti-racist educator Dr. Robin DiAngelo delves into the development of white fragility, how it upholds racial inequality, and provides insights on how to engage in more constructive conversations about race. Through this examination, DiAngelo sheds light on the societal and individual patterns that contribute to the persistence of racial tension and inequality.

Artificial Condition continues the journey of Murderbot, a self-aware security unit that has dubbed itself "Murderbot" after a dark past involving human fatalities. With only fragmented memories of the incident, Murderbot's desire for knowledge leads it to pair up with a Research Transport vessel named ART, whose full name is best left unspoken.

Together, they travel to the mining facility where Murderbot's journey into rogue autonomy began. The secrets uncovered during this voyage will irrevocably alter Murderbot's perception of itself and the universe it navigates.

The Murderbot Diaries series is a captivating exploration of artificial intelligence and self-discovery, set against the backdrop of a future where space exploration and corporate interests collide.

Casas vacías habla del dolor de las mujeres ante la desaparición de un hijo y de su propia vida. Es una novela que también cuestiona la maternidad y abre la posibilidad de un diálogo sobre cómo se enfrentan las maternidades no solicitadas y que son impuestas socialmente. La maternidad, que casi siempre asociamos con la felicidad, también puede ser una pesadilla: la de una mujer cuyo hijo desaparece en el parque donde estaba jugando, y la de aquella otra mujer que se lo lleva para criarlo como propio

Brenda Navarro ha conseguido un prodigio: caminar siempre, sin caerse nunca, sobre la delgada línea que separa –pero también une– el olvido y la memoria, la esperanza y la depresión, la vida privada y la vida pública, la pérdida y el encuentro, los cuerpos de las mujeres y el acto político. Casas vacías estremece de forma tan devastadora como ilumina: brillante y extrañamente esperanzadora.