The collection follows a restless, nervy, cosmically abandoned speaker failing at the aspirational markers of adulthood as she flips from city to city, from enchantment to disgust, always reemerging—just barely—on the trains and bridges and bar stools of New York City. A child of the Indian ocean diaspora, Fernandes enacts the humor and devastation of what it means to exist as a body of contradictions. Her interpretations are muddied. Her feminism is accusatory, messy. Her homelands are theoretical and rootless. The poet converses with goats and throws a fit at a tarot reading; she loves the intimacy of strangers during turbulent plane rides and has dark fantasies about the “hydrogen fruit” of nuclear fallout. Ultimately, these poems possess an affection for the doomed: false beloveds, the hounded earth, civilizations intent on their own ruin. Fernandes skillfully interrogates where to put our fury and, more importantly, where to direct our mercy.

    Missoula, Montana, is a typical college town, with a highly regarded state university, bucolic surroundings, a lively social scene, and an excellent football team — the Grizzlies — with a rabid fan base. The Department of Justice investigated 350 sexual assaults reported to the Missoula police between January 2008 and May 2012. Few of these assaults were properly handled by either the university or local authorities. In this, Missoula is also typical. A DOJ report released in December of 2014 estimates 110,000 women between the ages of eighteen and twenty-four are raped each year. Krakauer’s devastating narrative of what happened in Missoula makes clear why rape is so prevalent on American campuses, and why rape victims are so reluctant to report assault. Acquaintance rape is a crime like no other. Unlike burglary or embezzlement or any other felony, the victim often comes under more suspicion than the alleged perpetrator. This is especially true if the victim is sexually active; if she had been drinking prior to the assault — and if the man she accuses plays on a popular sports team. The vanishingly small but highly publicized incidents of false accusations are often used to dismiss her claims in the press. If the case goes to trial, the woman’s entire personal life becomes fair game for defense attorneys. This brutal reality goes a long way towards explaining why acquaintance rape is the most underreported crime in America. In addition to physical trauma, its victims often suffer devastating psychological damage that leads to feelings of shame, emotional paralysis and stigmatization. PTSD rates for rape victims are estimated to be 50%, higher than soldiers returning from war. In Missoula, Krakauer chronicles the searing experiences of several women in Missoula — the nights when they were raped; their fear and self-doubt in the aftermath; the way they were treated by the police, prosecutors, defense attorneys; the public vilification and private anguish; their bravery in pushing forward and what it cost them. Some of them went to the police. Some declined to go to the police, or to press charges, but sought redress from the university, which has its own, non-criminal judicial process when a student is accused of rape. In two cases the police agreed to press charges and the district attorney agreed to prosecute. One case led to a conviction; one to an acquittal. Those women courageous enough to press charges or to speak publicly about their experiences were attacked in the media, on Grizzly football fan sites, and/or to their faces. The university expelled three of the accused rapists, but one was reinstated by state officials in a secret proceeding. One district attorney testified for an alleged rapist at his university hearing. She later left the prosecutor’s office and successfully defended the Grizzlies’ star quarterback in his rape trial. The horror of being raped, in each woman’s case, was magnified by the mechanics of the justice system and the reaction of the community. Krakauer’s dispassionate, carefully documented account of what these women endured cuts through the abstract ideological debate about campus rape. College-age women are not raped because they are promiscuous, or drunk, or send mixed signals, or feel guilty about casual sex, or seek attention. They are the victims of a terrible crime and deserving of compassion from society and fairness from a justice system that is clearly broken.

    When her husband, Ted Hughes, first brought this collection to life, it garnered worldwide acclaim, though it wasn't the draft Sylvia had wanted her readers to see. This facsimile edition restores, for the first time, Plath's original manuscript—including handwritten notes—and her own selection and arrangement of poems. This edition also includes in facsimile the complete working drafts of her poem "Ariel," which provide a rare glimpse into the creative process of a beloved writer. This publication introduces a truer version of Plath's works, and will no doubt alter her legacy forever.

    Blake Day wants nothing more than to live out the rest of his college life without the media's spotlight on his back. What happens when Blake throws a deal out to Sloane that's almost too good to not consider?But what if the deal that he was just throwing to her- isn't the whole story? What if the deal is somewhat the truth? The deal is in between the lines.

    Lying there completely naked, I am at my most vulnerable but determined to prove my strength. I try to keep my legs closed as my body wills itself to protect my most private area. . . . I tell myself: I am a warrior. I birthed a human. I can handle pain. But nothing could have ever prepared me for the feel of this fire on my skin."The shocking and subersive memoir of a 12-year-NXIVM-member-turned-whistleblower, and her inspiring true story of abuse, escape, and redemption.In 2005, Sarah Edmondson was a young actress starting out in Vancouver and hungry for purpose when she first heard about NXIVM, a personal and professional development company founded by Keith Raniere. Intrigued by the organization's promise to provide the tools, community, and insight to help her reach her potential, Sarah would go on to become one of NXIVM 's most faithful devotees, running a company center and enrolling more than 2,000 members.In this tell-all memoir, Sarah shares her true story from the moment she takes her first NXIVM seminar, to the moment she begins to question why those members who ask questions promptly leave or disappear, to the invitation she accepts from her best friend, Lauren Salzman, to the initiation ceremony for DOS - a "secret sisterhood" within NXIVM. Thanks to Sarah's fearlessness as she put her life on the line, that ceremony would mark the beginning of the cult's end.Complete with personal photographs, Scarred is an eye-opening story about abuses of power, the role female friendships play in cults, and how sometimes the search to be "better" can override everything else.

    She doesn't have bleached hair, a boob job, or a love of five-inch stilettos. She also harbors a secret talent. Using her psychic abilities, she knows which house her clients need to buy in order to find love. Too bad her gift doesn't seem to work for her.Enter movie mogul Jonathon Silver.Emily wonders why a Hollywood big wig needs help finding love. She soon discovers his superior and fussy ways might be getting in his way. Even so, she's determined to do her best and help him find his soulmate. Unfortunately, things don't go as planned.Will Emily accidentally close the deal on her own happily-ever-after? Find out in this laugh-out-loud tale of love, house hunting, and new beginnings!*** Novella previously released as part of the USA Today Bestselling Love in the City anthology.

    The American Dream champions individualism.  But at what price?  In this timely revision of The Wilding of America, Charles Derber chronicles the latest incidents of "wilding" - extreme acts of self-interested violence and greed - that signal an eroding of the moral landscape of American society.  Despite this ever-increasing emphasis on individualism in America, Derber offers a communitarian alternative that is as inspiring as it is instructive.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    It's about the embarrassments of growing up and experimenting with who you are and how pop music is both the comic and life-affirming soundtrack that runs through it all.Different for Girls is for anyone who ever sang into a hairbrush and slow-danced to Spandau Ballet's True. It's about growing up with Look-In and Jackie magazine and daubing your hair with poster paint to look more like Toyah Wilcox. It's about bad perms, bad boyfriends and the nagging feeling that no man will quite measure up to Nick Heyward from Haircut One Hundred. It's also about the journey from bad band to great band, from gigs in toilets to gigs in stadiums with all the mistakes, joys, disappointments and successes in between. It's a journey which starts with a 12-year-old perfecting her dance routine to Kate Bush's Wuthering Heights in front of TOTPs and ends, almost 20 years later, with the same girl having REM's Michael Stipe sing happy birthday to her on a warm summer's evening accompanied by 70,000 strangers.

    The Ivy League institution dedicated to graduating “one thousand male leaders” each year had finally decided to open its doors to the nation’s top female students. The landmark decision was a huge step forward for women’s equality in education.Or was it?The experience the first undergraduate women found when they stepped onto Yale’s imposing campus was not the same one their male peers enjoyed. Isolated from one another, singled out as oddities and sexual objects, and barred from many of the privileges an elite education was supposed to offer, many of the first female students found themselves immersed in an overwhelmingly male culture they were unprepared to face. Yale Needs Women is the story of how these young women fought against the backward-leaning traditions of a centuries-old institution and created the opportunities that would carry them into the future. Anne Gardiner Perkins’s unflinching account of a group of young women striving for change is an inspiring story of strength, resilience, and courage that continues to resonate today.

    Now Robert V. Hine and John Mack Faragher offer a concise edition of their classic, freshly updated. Lauded for their lively and elegant writing, the authors provide a grand survey of the colorful history of the American West, from the first contacts between Native Americans and Europeans to the beginning of the twenty-first century.Frontiers introduces the diverse peoples and cultures of the American West and explores how men and women of different ethnic groups were affected when they met, mingled, and often clashed. Hine and Faragher present the complexities of the American West—as frontier and region, real and imagined, old and new. Showcasing the distinctive voices and experiences of frontier characters, they explore topics ranging from early exploration to modern environmentalism, drawing expansively from a wide range of sources. With four galleries of fascinating illustrations drawn from Yale University's premier Collection of Western Americana, some published here for the first time, this book will be treasured by every reader with an interest in the unique saga of the American West.

    Elizabeth Johnson offers an interpretation of Mary that is theologically sound, spiritually empowering, ethically challenging, socially liberating, and ecumenically fruitful. In particular, she sees the image of Mary as a blessing rather than a blight for women's lives in both religious and political terms."If you read only one book on Mary in your lifetime, let this be the one." American Catholic Booksellers'

    But despite the distractions of her new life and the demands of single motherhood, her nerves continue to jangle. To make matters worse, during class a vicious debate about violence against women inflames the tensions and mounting rivalries in her creative writing group. When a troubled student starts turning in chapters that blur the lines between fiction and reality, the professor recognizes herself as the main character in his book--and he has written her a horrific fate. Will she be able to stop life imitating art before it's too late? At once a breathless cat-and-mouse game and a layered interrogation of the fetishization of the female body, The Body Lies gives us an essential story for our time that will have you checking the locks on your doors.

    Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

    Once a cynical New York reporter trying to get the "scoop" on the Mormons, Luke is now one himself, and determined to live a Christ-like life. On a new assignment in Sudan, Africa as part of a humanitarian project, Luke realizes this isn't "Mormonville" anymore, in fact, Sudan is one of the most dangerous places in the world. But with a goal to further his career and be of good service, he plows ahead. Seeking an injured man outside the safety of a refugee camp, Luke and fellow workers are ambushed and kidnapped by terrorists. Now he will learn what it means to be a true Christian as he tries to build relationships with his captors, modeling compassion and kindness in hopes of a release. But days turn into weeks and months, and Luke wonders if he'll ever hold Hayley in his arms again. A timely look at a troubling situation, Jeff Call takes us on a journey of profound importance, especially for all of us who want to learn what it means to stand for the right and yet, "turn the other cheek."