Patchwork's innovative design, which relies on sovereign joint-stock republics with cryptographic governance, brings the promise of clean streets, negligible crime, invincible robot armies, and world peace.

    Mysteries don't lose their poetry because they are solved: the solution often is more beautiful than the puzzle, uncovering deeper mysteries. With the wit, insight, and spellbinding prose that have made him a best-selling author, Dawkins takes up the most important and compelling topics in modern science, from astronomy and genetics to language and virtual reality, combining them in a landmark statement of the human appetite for wonder. This is the book Richard Dawkins was meant to write: a brilliant assessment of what science is (and isn't), a tribute to science not because it is useful but because it is uplifting.

    "[Woolf's] essays...are lighter and easier than her fiction, and they exude information and pleasure.... Everything she writes about novelists, like everything she writes about women, is fascinating.... Her well-stocked, academic, masculine mind is the ideal flint for the steel of her uncanny intuitions to strike on" (Cyril Connolly, New Yorker). Editorial Note by Leonard Woolf.

    The reprinted stories include:"In the Vault";"Pickman's Model";"The Rats in the Walls";"The Music of Erich Zann";"The Haunter of the Dark";"The Dunwich Horror";and "The Thing on the Doorstep".

    His stories often read like thoughtful essays, his essays like poems, and his poems like brief narrations. Borges in conversation similarly transcends and transmutes our expectations of the ordinary colloquy. In the wide-ranging dialogues presented in this volume, the author's thoughts are evoked through the perceptive questioning of Willis Barnstone, John Coleman, Alastair Reid, Dick Cavett, and others. The resulting interplay between Borges and his interview2ers makes fascinating reading, revealing him as perhaps the premier conversationalist of our time. Borges chats intimately with his audience. "A crowd is an illusion... I am talking to you personally," he tells one group. Candor, wit, and humorous self-disparagement mark his responses, as do the Socratic qualities of profound yet amusing meditation and retort. "When I wake up," he informs us, "I wake to something worse. It's the astonishment of being myself." With the haunting resonance and structure of a fugue, the pervasive themes of Borges' works (or "exercises" as he chooses to call them) are woven throughout these evocative conversations. The nightmares, labyrinths, mazes, and mystic experiences that are part of Borges' creative mythology similarly loom large in his conversations. Revealed here are the interests that have continued to engage the writer-Old English and Old Norse sagas, his favorite authors (notably Whitman, Poe, and Emerson), the Kabbalah-as well as his feeling of what it is like to be blind, and now, in his eighties, his thoughts on death. A dozen of Borges' poems are reproduced, both in Spanish and in English translation, followed by remarks on how he came to write them and what they mean. Willis Barnstone's remarkable photographs complete the sensitive word portrait that emerges in Borges at Eighty: Conversations.

    The translators, noted Persian literature scholars Ahmad Karimi-Hakkak and Michael Beard, contribute an illuminating introduction to Kiarostami's poetic enterprise, examining its relationship to his unique cinematic corpus and to the traditions of classic and contemporary Persian poetry. Of interest to enthusiasts of cinema and literature alike, Walking with the Wind—the second volume in Harvard Film Archive's series "Voices and Visions in Film"—sheds light on a contemporary master who transforms simple fragments of reality into evocative narrative landscapes.