She is attracted yet repelled, interested but afraid. Nicoletta becomes obsessed, unable to think of anything but this strange boy. But she knows so little about him. Until she follows him to a deserted cave on the edge of town ... and learns the truth. Jethro is not like the others. No, not at all. He has a terrifying secret. A secret no one must ever find out.

    Falling into Theory is a brief and inexpensive collection of essays that asks literature students to think about the fundamental questions of literary studies today.

    The Truly Devious box set includes all three paperbacks in the series and is perfect for gift-giving and binge reading.The Truly Devious case—an unsolved kidnapping and triple murder that rocked Ellingham Academy in 1936—has consumed Stevie for years. It’s the very reason she came to the Academy. But after she arrives, more students turn up dead. Teen detective Stevie is on the case until she solves every mysterious death—from the past and the present.Praise for Truly Devious:“Parallel mysteries unfold with cleverly written dialogue, pate-turning brilliance, and a young sleuth as captivating as Hercule Poirot.” —USA Today“The Agatha Christie-like ecosystem pairs with lacerating contemporary wit. A multilayered, modern detective story.” —The New York Times Book ReviewPraise for The Vanishing Stair:“Take it from the world’s most impatient reader: If the Truly Devious series is basically one long mystery book, The Vanishing Stair is middle part so enjoyable you won’t even want to skip to the end.” —Entertainment WeeklyPraise for The Hand on the Wall:“A richly satisfying, Poirot-like ending for Johnson's inspired and inspiring teen sleuth.” —Kirkus Reviews

    Yet he grows to manhood in a remote country village, hiding his lack of powers only through constant vigilance and ever more skillful sleight-of-hand.Forced to kill a man in self-defense, Joram can keep his secret from the townspeople no longer: he has no magic, no life. Fleeing to the Outlands, Joram joins the outlawed Technologists, who practice the long forbidden arts of science. Here he meets the scholarly catalyst Saryon, who has been sent on a special mission to hunt down a mysterious "dead man" and instead finds himself in a battle of wits and power with a renegade warlock of the dark Duuk-tsarith caste.Together, Joram and Saryon begin their quest toward a greater destiny—a destiny that begins with the discovery of the secret books that will enable them to overthrow the evil usurper Blachloch...and forge the powerful magic-absorbing Darksword.

    Psychology is the only branch of learning in which I am particularly versed. To the psychologist the religious propensities of man must be at least as interesting as any other of the facts pertaining to his mental constitution. It would seem, therefore, as a psychologist, the natural thing for me would be to invite you to a descriptive survey of those religious propensities." When William James went to the University of Edinburgh in 1901 to deliver a series of lectures on "natural religion," he defined religion as "the feelings, acts, and experiences of individual men in their solitude, so far as they apprehend themselves to stand in relation to whatever they may consider the divine." Considering religion, then, not as it is defined by--or takes place in--the churches, but as it is felt in everyday life, he undertook a project that, upon completion, stands not only as one of the most important texts on psychology ever written, not only as a vitally serious contemplation of spirituality, but for many critics one of the best works of nonfiction written in the 20th century. Reading The Varieties of Religious Experience, it is easy to see why. Applying his analytic clarity to religious accounts from a variety of sources, James elaborates a pluralistic framework in which "the divine can mean no single quality, it must mean a group of qualities, by being champions of which in alternation, different men may all find worthy missions." It's an intellectual call for serious religious tolerance--indeed, respect--the vitality of which has not diminished through the subsequent decades.

    In this distinctive world, Peter Frankel, a successful partner in a prestigious law firm, lives a seemingly contented life with his talented wife and his two Ivy League—educated children. Yet in middle age Peter finds himself discontent. His wife’s narrowness and her preoccupation with appearances leaves him cold, his job does not fulfill his creative bent, and he fears that his children, Susan and Louis, have grown into skeptical young adults who shun marriage and stability. So when Peter’s wife is badly hurt in a car accident and lies in a coma, he finds himself guiltily relieved–and newly drawn toward his children as they too struggle with ambivalent feelings about the mother who’s never really shown them much love. As Susan, a cerebral doctoral student, becomes unhappily involved with an aspiring playwright and Louis is caught up in a futile pursuit of an ambitious journalist, Peter’s own quiet life is shaken up, and longings he has stifled for years come rumbling to the surface.Freed from his wife’s judgments, Peter throws himself into his greatest pleasure, the work he does for a foundation that funds offbeat artistic projects. And as his passion for this work ignites, so does his desire for another woman. But the stubborn morality that has steered Peter’s life is a force to be reckoned with–and one from which he may never entirely escape.Love, Work, Children is a profoundly insightful novel about two generations and the colorful urban world they inhabit. A superb portrayal of one of New York’s exceptional neighborhoods, this is a story, ultimately, about the self-imposed obstacles to true happiness–and a testament to the joy one can find in overcoming them.From the Hardcover edition.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    In the spring of 1991 they decided to grapple with the beast, taking a theatrical tour that would exaggerate their differences. By turns enraptured by and disdainful of America and its obsession with celebrity they brushed shoulders with the famous (Axl Rose, Liza Minelli and Joni Mitchell) travelled, played and uttered their detached commentary on what was happening. Throughout they were shadowed by the author Chris Heath and photographer Pennie Smith.

    She covered civil rights demonstrations in the 1960s, places where she lived, locations she traveled to, theater she had seen, and murder trials that gripped her. She wrote sketches for various occasions and countless essays about literature, her greatest passion. For Hardwick, the essay was an imaginative endeavor. The continuous attention to language, the structure of observations, the line of interpretation— Hardwick deserves to be read and reread for the clarity of her perceptions and her enduring assessments of literature and society, and simply for the beauty of her writing alone.Edited and with an introduction by Darryl Pinckney, The Collected Essays of Elizabeth Hardwick gathers more than fifty essays for a retrospective of this writer or moral courage, as Joan Didion called her. Hardwick’s readings define literature itself.

    ' "Of course, no one would want to say anything about a girl like this that's missing..." 'Malice, paranoia and creeping dread lie beneath the surface of ordinary American life in these chilling miniature masterworks of unease.Contains:- The Missing Girl- Journey with a Lady- Nightmare

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Gluck, this anthology takes the full measure of our poetry's daring energies and its tender understandings.

    Herman and Noam Chomsky show that, contrary to the usual image of the news media as cantankerous, obstinate, and ubiquitous in their search for truth and defense of justice, in their actual practice they defend the economic, social, and political agendas of the privileged groups that dominate domestic society, the state, and the global order.Based on a series of case studies—including the media’s dichotomous treatment of “worthy” versus “unworthy” victims, “legitimizing” and “meaningless” Third World elections, and devastating critiques of media coverage of the U.S. wars against Indochina—Herman and Chomsky draw on decades of criticism and research to propose a Propaganda Model to explain the media’s behavior and performance. Their new introduction updates the Propaganda Model and the earlier case studies, and it discusses several other applications. These include the manner in which the media covered the passage of the North American Free Trade Agreement and subsequent Mexican financial meltdown of 1994-1995, the media’s handling of the protests against the World Trade Organization, World Bank, and International Monetary Fund in 1999 and 2000, and the media’s treatment of the chemical industry and its regulation. What emerges from this work is a powerful assessment of how propagandistic the U.S. mass media are, how they systematically fail to live up to their self-image as providers of the kind of information that people need to make sense of the world, and how we can understand their function in a radically new way.

    . . . A masterpiece.” —Margaret Atwood“No one who is invested in any kind of art . . . can read The Gift and remain unchanged.” —David Foster WallaceBy now a modern classic, The Gift is a brilliantly orchestrated defense of the value of creativity and of its importance in a culture increasingly governed by money and overrun with commodities. This book is even more necessary today than when it first appeared.An illuminating and transformative book, and completely original in its view of the world, The Gift is cherished by artists, writers, musicians, and thinkers. It is in itself a gift to all who discover the classic wisdom found in its pages.

    The essay focuses on political language, which, according to Orwell, "is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind." Orwell believed that the language used was necessarily vague or meaningless because it was intended to hide the truth rather than express it.