It covers a broad range of fictional narratives, from Richardson’s Clarissa, Dostoyevski’s Crime and Punishment, and Austen’s Pride and Prejudice to Woolf’s Mrs. Dalloway, Nabokov’s Lolita, and Hammett’s The Maltese Falcon. Zunshine’s surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.

    Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic."

    Anna Karenina, Clarissa Dalloway, Daisy Buchanan...each seems to live on the page through celebrated artist Samantha Hahn's evocative portraits and hand-lettered quotations, with the pairing of art and text capturing all the spirit of the character as she was originally written. The book itself evokes vintage grace re-imagined for contemporary taste, with a cloth spine silk-screened in a graphic pattern, debossed cover, and pages that turn with the tactile satisfaction of watercolour paper. In the hand and in the reading, here is a new classic for the book lover's library.

    Play with me for a moment: if you were to consider the mind a machine, say, a telegraph in service to the heart, then the heart gives the first dictation. The mind then translates vital information in the form of language to the speaker system of voice, which will hopefully transmit the communications as the heart intended, if that is the priority. It is a good time to ask yourself what your priorities of communication are. What is motivating you?A short journey from heart to mind and back down to the throat takes mere seconds, but a mighty many detours are taken en route. This may be because the fear residing in the mind is like a highwayman, waylaying our genuine matters of the heart and causing havoc as it tries to make its simple way out of the human body. There are other desperados who lure the vulnerable traveler off-path: insecurity, anxiety, self-consciousness, the fragile ego-but nearly all are unmasked first cousins to fear when flushed out of the shadows. Some fears are linked to primal traumas which may yet be unearthed. These deserve special attention when working with voice.I think the greatest of all distractions between heart and throat might be faithlessness, because reigning religious institutions have effectively redirected the focus from faith to matters of righteousness, wrongness and "policies". Faith in love, and what it can do, has taken a particularly destructive back seat to the priorities of massive organizations with other things in mind than loving kindness, peaceful communication, fair resolutions, wellness and the expressive voices of living, breathing people.For today's spiritually traumatized, broken-hearted and soul-wounded, the process of revealing what rests on the heart can be a paralyzing challenge. To clear the path of negative imprint, one must declare the intention to speak to what matters most and set about the task of discerning what that is. One can make a choice now to stand up to the fears that mangle the truth into expressions more palatable for others, cause explosions of rage, freezing up, or cut-and-run behavior.To love the truth more than anything else is a tall order.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

     What she didn’t realize was that her ordeal had only just begun. That night, while her newlywed husband languished in a jail cell, she would be driven across the border at gunpoint, sedated, and locked in an empty room for days. She would be flown across the ocean in a drugged haze and awake in a walled compound in a remote corner of northern India. Later, she would swallow pills and bleed out the child she didn’t know she carried inside her. Mayah would remain a prisoner in her family’s home until she agreed to annul her marriage and wed a husband of their choosing. WEDLOCKED: A Story of Forced Marriage uses the true tale of one woman’s experience to introduce readers to a pervasive practice that has only recently begun tiptoeing out of hushed living rooms and into the spotlight of public discourse. Many women who had been rendered silent, threatened by familial and community pressure to accept their fates without protest, have been stepping forward to speak out about the injustice of an institution that is only barely beginning to be understood in scope and severity. Mayah’s story is just one of thousands. But it is hers. And by telling her tale — appalling in its violence, humbling in its magnitude, and ultimately redemptive in its humanity — forced marriage as an abstract concept can be rewritten. Mayah’s story is a pathway to make the intangible tangible; to color the statistics with a voice.

    Raised on a farm by a father who would have preferred a son, Emma can ride, shoot, and hunt as well as any man. She defies convention to become a soldier, an army nurse, even a spy. Dangers surround her, from enemy fire in battle to the risk of discovery by her friends, which would end in court-martial and disgrace. Always she seeks to reconcile the necessity of deception with her deeply-held values, but her greatest challenge arises when her friendship with a fellow-soldier becomes so close that she is tempted to confess the truth and risk everything for a chance at love. Based on the true adventures of Sarah Emma Edmonds, who served for two years in the 2nd Michigan Volunteers as Private Frank Thompson.

    "Heaven and Mel" is Eszterhas's explosive, unabridged, no-holds-barred account. It is a Hollywood story but it's not. It is the story of love and hatred, of anti-Semitism and fathers and sons, and of a movie star's tragic sexual obsession. It is the story of God and the Devil, devastating but often hilarious. It is Joe Eszterhas at his best: two-fisted, movingly sensitive, always outrageous.

    Drawing on neuroscience, psychology and sociology The Teacher's Toolkit provides an overview of recent thinking innovations in teaching and presents over fifty learning techniques for all subjects and age groups, with dozens of practical ideas for managing group work, tackling behavioural issues and promoting personal responsibility. It also presents tools for checking your teaching skills - from lesson planning to performance management.

    Essays from a tiny diner in the middle of the country.These are stories of love and adaptation at the broad intersection of commerce and community, and of how a pandemic changed everything and nothing about us.