In the Inferno, Dante not only judges sin but strives to understand it so that the reader can as well. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing both the poem’s line-by-line vigor and its allegorically and philosophically exacting structure, yielding an Inferno that will be as popular with general readers as with teachers and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.Esolen also provides a critical Introduction and endnotes, plus appendices containing Dante’s most important sources—from Virgil to Saint Thomas Aquinas and other Catholic theologians—that deftly illuminate the religious universe the poet inhabited.

    Asher Lev is an artist who is compulsively driven to render the world he sees and feels even when it leads him to blasphemy. In this stirring and often visionary novel, Chaim Potok traces Asher’s passage between these two identities, the one consecrated to God, the other subject only to the imagination.Asher Lev grows up in a cloistered Hasidic community in postwar Brooklyn, a world suffused by ritual and revolving around a charismatic Rebbe. But in time his gift threatens to estrange him from that world and the parents he adores. As it follows his struggle, My Name Is Asher Lev becomes a luminous portrait of the artist, by turns heartbreaking and exultant, a modern classic.

    The novel entwines two equally powerful narratives. A writer named Shahriar—the author’s fictional alter ego—has struggled for years against the all-powerful censor at the Ministry of Culture and Islamic Guidance. Now, on the threshold of fifty, tired of writing dark and bitter stories, he has come to realize that the “world around us has enough death and destruction and sorrow.” He sets out instead to write a bewitching love story, one set in present-day Iran. It may be his greatest challenge yet. Beautiful black-haired Sara and fiercely proud Dara fall in love in the dusty stacks of the library, where they pass secret messages to each other encoded in the pages of their favorite books. But Iran’s Campaign Against Social Corruption forbids their being alone together. Defying the state and their disapproving parents, they meet in secret amid the bustling streets, Internet cafés, and lush private gardens of Tehran. Yet writing freely of Sara and Dara’s encounters, their desires, would put Shahriar in as much peril as his lovers. Thus we read not just the scenes Shahriar has written but also the sentences and words he’s crossed out or merely imagined, knowing they can never be published. Laced with surprising humor and irony, at once provocative and deeply moving, Censoring an Iranian Love Story takes us unforgettably to the heart of one of the world’s most alluring yet least understood cultures. It is an ingenious, wholly original novel—a literary tour de force that is a triumph of art and spirit.

    Autoportrait is a physical, psychological, sexual, political, and philosophical triumph. Beyond "sincerity," Levé works toward an objectivity so radical it could pass for crudeness, triviality, even banality: the author has stripped himself bare. With the force of a set of maxims or morals, Levé's prose seems at first to be an autobiography without sentiment, as though written by a machine—until, through the accumulation of detail, and the author's dry, quizzical tone, we find ourselves disarmed, enthralled, and enraptured by nothing less than the perfect fiction . . . made entirely of facts.

    In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

    But it's hard on your own. And sometimes you take risks you shouldn't. Because you have to . . . One chaotic family Jess's gifted, quirky daughter Tanzie is brilliant with numbers, but without a helping hand she'll never get the chance to shine. And Nicky, Jess's teenage stepson, can't fight the bullies alone. Sometimes Jess feels like they're sinking . . . One handsome stranger Into their lives comes Ed Nicholls, a man whose life is in chaos, and who is running from a deeply uncertain future. But he has time on his hands. He knows what it's like to be lonely. And he wants to help . . . One unexpected love story The One Plus One is a captivating and unconventional romance from Jojo Moyes about two lost souls meeting in the most unlikely circumstances. Praise for Jojo Moyes: 'Majestic, utterly compelling, tremendous. A heart-stopping read' Independent on Sunday'Truly beautiful. Made us laugh, smile and sob like a baby - you simply have to read it' Closer'A triumph. Packs such an emotional punch, you'll need a box of tissues' ElleJojo Moyes is a novelist and a journalist. She worked at the Independent for ten years before leaving to write full time. Her previous novels have all been critically acclaimed and include The Ship of Brides, Foreign Fruit, The Last Letter From Your Lover, winner of Spring 2012's most popular Richard and Judy Book Club title Me Before You and most recently The Girl you Left Behind. She lives in Essex with her husband and their three children.

    The "Getting Started" section will give you a great overview and help explain some things for the very beginner. Next, learn some easy stitch patterns in the section "Basic Stitches." When you're ready to try your first project, take a look at the "Potholder Patterns" section, but make sure to read the "Pattern Information & Notes" first for some important stuff that pertains to all the patterns. The ebook is also filled with photos to help you along your way.Why Potholders?Potholders are a great project to work with Tunisian crochet because:• The back/wrong side is hidden between the two layers• Tunisian crochet makes a very thick final product• Working square shapes is easy for the beginnerHave fun, and happy hooking to you!

    Whether you're crafting a novel, composing an e-mail, or creating a technical report, Mastering the Craft of Writing presents 52 practical techniques to improve your prose. Spend a week with each technique, or use this book as a go-to reference. Either way, you'll have the tools to enliven your writing and delight your readers. Write with economy: Eliminate wordiness, use strong verbs to drive your sentences, and don't trust modifiers. Write with emphasis: Use punctuation for effect, structure sentences and paragraphs for coherency and flow, and employ repetition to make your point. Write with distinction: Use your imagination to create the unexpected, add a light-hearted touch to your writing, and go beyond clarity to eloquence and grace. With exercises, entertaining asides, and a wealth of useful information, Mastering the Craft of Writing is an invaluable resource for any writer. Once you master these techniques, you'll want to use them in everything you write.

    Gardner, once a famous poet, now is retired. He slips in and out of senility as his wife Fanny valiantly tries to keep them both afloat. They have asked their daughter, Mags, to come home and help them move. Mags agrees, for she hopes as well to finally paint their portrait. She is now on the verge of artistic celebrity herself and hopes, by painting her parents, to come to terms with them and they with her. Mags triumphs in the end as Fanny and Gardner actually step through the frame and become a work of art ineffable and timeless.

    The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various surreal people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. The Nadja of the book is a girl, but, like Bertrand Russell's definition of electricity as not so much a thing as a way things happen, Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.

    Carter's acclaimed color series! Modern and elegant paper engineering and text are certain to awe children of all ages!Readers will search beatiful, modern pop-ups to discover the hidden yellow square on each spread in this follow up to David A. Carter's New York Times award winning, 600 Black Spots.

    In the year in which Matar's life was shattered by the disappearance of his father the work of the great artists of Siena seemed to offer him a sense of hope. Over the years since then, Matar's feelings towards these paintings would deepen and, as he says, 'Siena began to occupy the sort of uneasy reverence the devout might feel towards Mecca or Rome or Jerusalem'.A Month in Siena is the encounter, twenty-five years later, between the writer and the city he had worshipped from afar. It is a dazzling evocation of an extraordinary place and its effect on the writer's life. It is an immersion in painting, a consideration of grief and a profoundly moving contemplation of the relationship between art and the human condition.____________________________________'An exquisite, deeply affecting book' - Evening Standard'This book tells us much about the extraordinary power of art to inspire' Literary Review

    Salma has committed a crime punishable by death in her Bedouin tribe of Hima, Levant: she had sex out of wedlock and became pregnant. Despite the insult it would commit against her people, Salma has the child and suddenly finds herself a fugitive on the run from those seeking to restore their honor. Salma is rushed into protective custody where her newborn is ripped from her arms, and where she sits alone for years before being ushered to safety in England. Away from her Bedouin village, Salma is an asylum-seeker trying to melt into the crowd, under pressure to reassess her way of life. She learns English customs from her landlady and befriends a Pakistani girl who is also on the run, with whose help Salma finally forges a new identity. But just as things settle, the need to return for her lost daughter overwhelms her, and one fateful day, Salma risks everything to go back and find her.

    A large, well-populated and wealthy state suddenly committed itself to a quite new path: a revolution based on the supremacy of Islam and contempt for both superpowers. For over 30 years the Islamic Republic has resisted widespread condemnation, sanctions, and sustained attacks by Iraq in an eight-year war. Many policy-makers today share a weary wish that Iran would somehow just disappear as a problem. But with Iran's continuing commitment to a nuclear programme and its reputation as a trouble-maker in Afghanistan, Lebanon and elsewhere, this is unlikely any time soon. The slow demise of the 2009 'Green Revolution' shows that Revolutionary Iran's institutions are still formidable. About the author: Michael Axworthy's Iran: Empire of the Mind established him as one of the world's principal experts on this extraordinary country and in his new book, Revolutionary Iran, he has written the definitive history of this subject, one which takes full account of Iran's unique history and makes sense of events often misunderstood by outsiders. Reviews: 'Balances scholarly precision with narrative flair ... Axworthy does the best job so far of describing the Iran-Iraq war ... He revisits, and convincingly reinterprets, defining moments of the Islamic republic ... [with] scholarly rigour and first-class analysis. Anyone interested in this most complex of revolutions would do well to read [this book]' Economist 'An impressive exploration of Iran's development since 1979 into an unpredictable pseudo-democracy ... [a] calm and literate portrait of the Islamic Republic' Guardian 'If you were to read only one book on present-day Iran you could not do better than this ... Axworthy revokes the sound and fury of the revolution itself' Ervand Abrahamian, Times Higher Education 'Packed with gobbets of information and policy advice on how to deal with Iran' Telegraph '[A] meticulously fair and scholarly work ... passages from Iranian authors little known in the west as well as references to both popular and arthouse cinema bring depth [and] richness ... moving and vivid ... a very fine work that deserves to be read by anyone interested in the Middle East' Jason Burke, Observer 'Axworthy is a true Iranophile, learned in history and literature ancient and modern ... [A] subtle, lucid, and well-proportioned history ... his method casts theocracy in a refreshingly cold light, and embosses the Islamic Republic's well-established subordination of faith to power' Spectator

    Immensely popular for years, the novel led to a hit play, a series of popular films, Trilby products from hats to ice-cream, and streets in Florida named after characters in the book. The setting reflects Du Maurier's bohemian years as an art student in Paris before he went to London to make a career in journalism. A celebrated caricaturist for Punch magazine, Du Maurier's drawings for the novel--of which his most significant are included here--form a large part of its appeal.