From the ghost stories of the Gothic to the zombies and vampires of twenty-first-century popular literature, from Mrs Radcliffe to Ms Rowling, the fantastic has been popular with readers. Since Tolkien and his many imitators, however, it has become a major publishing phenomenon. In this volume, critics and authors of fantasy look at its history since the Enlightenment, introduce readers to some of the different codes for the reading and understanding of fantasy, and examine some of the many varieties and subgenres of fantasy; from magical realism at the more literary end of the genre, to paranormal romance at the more popular end. The book is edited by the same pair who produced The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005).

    From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.

    Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

    Recovery and convalescence are words that exist at the periphery of our lives - until we are forced to contend with what they really mean.Here, GP and writer Gavin Francis explores how - and why - we get better, revealing the many shapes recovery takes, its shifting history and the frequent failure of our modern lives to make adequate space for it.Characterised by Francis's beautiful prose and his view of medicine as 'the alliance of science and kindness', Recovery is a book about a journey that most of us never intend to make. Along the way, he unfolds a story of hope, transformation, and the everyday miracle of healing.

    Based on eighteen months of fieldwork in a racially diverse working-class high school, Dude, You're a Fag sheds new light on masculinity both as a field of meaning and as a set of social practices. C. J. Pascoe's unorthodox approach analyzes masculinity as not only a gendered process but also a sexual one. She demonstrates how the "specter of the fag" becomes a disciplinary mechanism for regulating heterosexual as well as homosexual boys and how the "fag discourse" is as much tied to gender as it is to sexuality.

    The historians who look at it from the Protestant, progressive, "19th Century gentleman" viewpoint are defined by Professor Butterfield as "the Whig historians." The Whig historian studies the past with reference to the present. He looks for agency in history. And, in his search for origins and causes, he can easily select those facts that give support to his thesis and thus eliminate other facts equally important to the total picture.

    Gholdy E. Muhammad presents a four-layered equity framework—one that is grounded in history and restores excellence in literacy education. This framework, which she names, Historically Responsive Literacy, was derived from the study of literacy development within 19th-century Black literacy societies. The framework is essential and universal for all students, especially youth of color, who traditionally have been marginalized in learning standards, school policies, and classroom practices. The equity framework will help educators teach and lead toward the following learning goals or pursuits:  Identity Development—Helping youth to make sense of themselves and othersSkill Development— Developing proficiencies across the academic disciplinesIntellectual Development—Gaining knowledge and becoming smarterCriticality—Learning and developing the ability to read texts (including print and social contexts) to understand power, equity, and anti-oppression When these four learning pursuits are taught together—through the Historically Responsive Literacy Framework, all students receive profound opportunities for personal, intellectual, and academic success. Muhammad provides probing, self-reflective questions for teachers, leaders, and teacher educators as well as sample culturally and historically responsive sample plans and text sets across grades and content areas. In this book, Muhammad presents practical approaches to cultivate the genius in students and within teachers.

    Bloom here follows up with 6–10 pages each on 100 "geniuses" of literature (all deceased)—pointing to the major works, outlining the major achievements therein, showing us how to recognize them for ourselves. Despite the book's length, Bloom's mostly male geniuses are, as he notes "certainly not 'the top one hundred' in anyone's judgement, my own included. I wanted to write about these." Bloom backs up his choices with such effortless and engaging erudition that their idiosyncrasy and casualness become strengths. While organized under the rubric of the 10 Kabalistic Sefirot, "attributes at once of God and of Adam Kadmon or Divine Man, God's Image," Bloom's chosen figures are associated by his own brilliant (and sometimes jabbingly provocative) forms of attention, from a linkage of Dr. Johnson, Goethe and Freud to one of Dickens, Celan and Ellison (with a few others in between them). A pleasant surprise is the plethora of lesser-known Latin American authors, from Luz Vaz de Camões to José Maria Eça de Queiroz and Alejo Carpentier. Many familiar greats are here, too, as is a definition of genius. "This book is not a work of analysis or of close reading, but of surmise and juxtaposition," Bloom writes, and as such readers will find it appropriately enthusiastic and wild.

    In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement.Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of Joseph McCarthy’s America, Laing grapples with some of the most significant and complicated figures of the past century—among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    It is a treasure trove of Didion's no-nonsense wisdom about the art of literature and life, and about the power of both endurance and surrender.

    Matters of Life and Death collects Picard's most compelling columns, covering a broad range of topics including Canada's right-to-die law, the true risks of the Zika virus, the financial challenges of a publicly funded health system, appalling health conditions in First Nations communities, the legalization of marijuana, the social and economic impacts of mental illness, and the healthcare challenges facing transgender people.The topic of health touches on the heart of society, intersecting with many aspects of private and public life—human rights, aging, political debate, economics and death. With his reporting, Picard demonstrates the connection between physical health and the health of society as a whole, provides the facts to help readers make knowledgeable health choices, and acts as a devoted advocate for those whose circumstances bar them from receiving the care they need.Providing an antidote to widespread fear-mongering and misinformation, Matters of Life and Death is essential reading for anyone with an investment in public health topics—in other words, everyone.

    A Nebula and Hugo Award-winning writer of science fiction presents a collection of essays that explores the various issues, concepts, challenges, and paradoxes that confront the science fiction writer.

    Media-savvy millennials, and their younger Gen Z counterparts, no longer trust advertising, and they demand increased social responsibility from their brands—while still insisting on cutting-edge products with on-trend design. As always, brands need to be cool—but now they need to be good, too. It’s a tall order, and with new technology empowering consumers to bypass advertisements altogether, it won’t be long before the old, advertising-based marketing model goes the way of the major label. If only there was a new model, one that allowed companies to address environmental, civic, and economic issues in a way that grew their brand and business, while giving back to society, and re-branding branding as a powerful force for good. Enter Good is The New Cool, a bold new manifesto from marketing experts Afdhel Aziz and Bobby Jones. In provocative, whip-smart, and streetwise style, they take aim at conventional marketing, posing the questions few have had the vision and courage to ask: If the system is broken, how can we fix it? Rather than sinking money into advertising, why not create a new model, in which great marketing optimizes life? With seven revolutionary new principles—from “Treat People as Citizens, Not Consumers,” to “Lead with the Cool”—and insights and interviews from a new generation of marketers, social entrepreneurs, and leaders of such brands as Zappos, Citibank, The Honest Company, as well as the culture creators working with artists like Lady Gaga, Pharrell, and Justin Bieber, this rule-breaking book is the new business model for the twenty-first century, and a call to action for anyone committed to building a better tomorrow. This visionary book won’t just change your business—it will change the world.

    In his Introduction John Gray describes these essays as applications of Mill's doctrine of the Art of Life, as set out in A System of Logic. Using the resources of recent scholarship, he shows Mill's work to be far richer and subtler than traditional interpretations allow.