"Work hard. Do good. Be incredible!" is the advice Teresa Rae Wood shares with the listeners of her local radio show, Modern Pioneers, and the advice she strives to live by every day. She has fled a bad marriage and rebuilt a life with her children, Claire and Joshua, and their caring stepfather, Bruce. Their love for each other binds them as a family through the daily struggles of making ends meet. But when they received unexpected news that Teresa, only 38, is dying of cancer, their lives all begin to unravel and drift apart. Strayed's intimate portraits of these fully human characters in a time of crisis show the varying truths of grief, forgiveness, and the beautiful terrors of learning how to keep living.

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    Very Good conditions. May have soft reading marks and name of the previous owner.

     Evie Barnum is in charge of her brother's museum, a place teeming with scientific specimens and "human prodigies" including a bearded woman and the lizard man. In this weird and whacky workplace, Evie hopes she can bury her secrets.But when an old friend shows up and begs for her help, she does all she can to stay away. The next time she sees him, he is dead in front of the exhibit of the Feejee Mermaid. Suspicion for the murder falls on Jeffrey, known as the Lizard Man, but Evie knows it isn't possible.When Jeffrey also goes missing, Evie becomes determined to solve the mystery of her friend's murder, even if it brings her face to face with her past...

    In true McInerney style, this new collection of stories examines post 9/11 America in all its dark and morally complex glory

    H. W. Fowler's A Dictionary of Modern English Usage.

    Half a decade later, she’s still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender.           The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition.           Personal and profane, funny and fervent, The Dead Ladies Project ranges from the nineteenth century to the present, from historical figures to brand-new hangovers, in search, ultimately, of an answer to a bedrock question: How does a person decide how to live their life?

    Magic Child, a fifteen-year-old Indian girl, wanders into the wrong whorehouse looking for the right men to kill the monster that lives in the ice caves under the basement of Miss Hawkline's yellow house. What follows is a series of wild, witty, and bizarre encounters. The book was originally published in 1974.

    Stigmata brings together her most recent essays for the first time.Acclaimed for her intricate and challenging writing style, Cixous presents a collection of texts that get away -- escaping the reader, the writers, the book. Cixous's writing pursues authors such as Stendhal, Joyce, Derrida, and Rembrandt, da Vinci, Picasso -- works that share an elusive movement in spite of striking differences. Along the way these essays explore a broad range of poetico-philosophical questions that have become characteristic of Cixous' work: * love's labours lost and found* feminine hours* autobiographies of writing* the prehistory of the work of artStigmata goes beyond theory, becoming an extraordinary writer's testimony to our lives and our times.

    But sometimes it can also mean entry to a new kind of life, a bigger world. Greer Kadetsky is a shy college freshman when she meets the woman she hopes will change her life. Faith Frank, dazzlingly persuasive and elegant at sixty-three, has been a central pillar of the women’s movement for decades, a figure who inspires others to influence the world. Upon hearing Faith speak for the first time, Greer—madly in love with her boyfriend, Cory, but still full of longing for an ambition that she can’t quite place—feels her inner world light up. And then, astonishingly, Faith invites Greer to make something out of that sense of purpose, leading Greer down the most exciting path of her life as it winds toward and away from her meant-to-be love story with Cory and the future she’d always imagined. Charming and wise, knowing and witty, Meg Wolitzer delivers a novel about power and influence, ego and loyalty, womanhood and ambition. At its heart, The Female Persuasion is about the flame we all believe is flickering inside of us, waiting to be seen and fanned by the right person at the right time. It’s a story about the people who guide and the people who follow (and how those roles evolve over time), and the desire within all of us to be pulled into the light.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    Strand deftly illuminates the work of the frequently misunderstood American painter, whose enigmatic paintings—of gas stations, storefronts, cafeterias, and hotel rooms—number among the most powerful of our time.   In brief but wonderfully compelling comments accompanying each painting, the elegant expressiveness of Strand’s language is put to the service of Hopper’s visual world. The result is a singularly illuminating presentation of the work of one of America’s best-known artists. Strand shows us how the formal elements of the paintings—geometrical shapes pointing beyond the canvas, light from unseen sources—locate the viewer, as he says, “in a virtual space where the influence and availability of feeling predominate.”   An unforgettable combination of prose and painting in their highest forms, this book is a must for poetry and art lovers alike.From the Hardcover edition.

    Professor Baker has also written two new chapters in which he discusses Hemingway's two posthumously published books, A Movable Feast and Islands in the Stream.CONTENTS: Introduction. I. The Slopes of Montparnasse. II. The Making of Americans. III. The Way It Was. IV. The Wastelanders. V. The Mountain and the Plain. VI. The First Forty-Five Stories. VII. The Spanish Earth. VIII. The Green Hills of Africa. IX. Depression at Key West. X. The Spanish Tragedy. XI. The River and the Trees. XII. The Ancient Mariner. XIII. The Death of the Lion. XIV. Looking Backward. XV. Islands in the Stream.

    In this book Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre.In the Dust of This Planet explores these relationships between philosophy and horror. In Thacker’s hands, philosophy is not academic logic-chopping; instead, it is the thought of the limit of all thought, especially as it dovetails into occultism, demonology, and mysticism. Likewise, Thacker takes horror to mean something beyond the focus on gore and scare tactics, but as the under-appreciated genre of supernatural horror in fiction, film, comics, and music. This relationship between philosophy and horror does not mean the philosophy of horror, if anything, it means the reverse, the horror of philosophy: those moments when philosophical thinking enigmatically confronts the horizon of its own existence. For Thacker, the genre of supernatural horror is the key site in which this paradoxical thought of the unthinkable takes place.

    He is a chronicler and mentor of young poets, was a leader of the antiwar movement, founded the men's movement, and wrote the bestselling book Iron John, which brought the men's movement to the attention of the world. Throughout these activities, Bly has continued to deepen his own poetry, a vigorous voice in a period of more academic wordsmiths. Here he presents his favorite poems of the last decades-timeless classics from Silence in the Snowy Fields, The Man in the Black Coat Turns, and Loving a Woman in Two Worlds. A complete section of marvelous new poems rounds out this collection, which offers a chance to reread, in a fresh setting, a lifetime of work dedicated to fresh perspectives.