Search results for ""mcpherson""

There is something morbidly fascinating about the dark and grotesque. Although it is human nature to tiptoe around the uncomfortable (or avoid it altogether), some artists are inspired by the unsettling to create intriguing works of art that push the boundaries of normality and provoke viewers into exploring their fears and taboos. There are also others who use them as springboards of the imagination to express their innermost feelings and question the often-grim realities of existence.In conjunction with Victionary’s 20th anniversary, the new edition of ‘DARK INSPIRATION’ combines most of the projects from the first two best-selling titles of the same name along with new work into one meaty celebration of the macabre. Featuring chilling depictions of childhood reveries, folklore, mysteries, and death in a variety of styles and interpretations, each project serves unconventionally as a celebration of life in all its gruesome glory. With contributions from: Aitch, Akino Kondoh, Aleksandra Waliszewska, Alessandro Sicioldr Bianchi, Alex Garant, Alice Lin, Amandine Urruty, Audrey Kawasaki, Bene Rohlmann, Dadu Shin, Dan Hillier, Daniel Martin Diaz, Danny Van Ryswyk, David Ho, dromsjel, Eero Lampinen, Eika, Elisa Ancori, Erik Mark Sandberg, Evelyn Bencicova, Fabian Mérelle, Fiona Roberts, Francesco Brunotti, Francois Robert, Fuco Ueda, Gabriel Isak, Giacomo Carmagnola, Guim Tió Zarraluki, Hannes Hummel, Heiko Müller, James Jean, Januz Miralles, Jeff Mcmillan, Jesse Auersalo, Jim Johnson Tsang, Jon Beinart, Jules Julien, Justin Nelson, Kate Macdowell, Katy Horan, Kayan Kwok, Kim Simonsson, Kotaro Chiba, Lala Gallardo, Lola Dupre, Lostfish, Mariana Magdaleno, merve morkoç (Lakormis), Mia Mäkilo, Michael Reedy, Miranda Meeks, Nadja Jovanovic, Nicoletta Ceccoli, Oleg Dou, Olivia Knapp, Paola Rojas H & David Perez, Paul Hollingworth, Raffaello De Vito, Raul Oprea aka Saddo, Richard Colman, Ryan Oliver, Sergio Mora / Agency Rush, Tara McPherson, Till Rabus, Tim Lee, Yido, Yoshitoshi Kanemaki, Yuka Yamaguchi, Yury Ustsinau, and Zhou Fan

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In her “keenly observed” (Star Tribune, Minneapolis) debut, Rachel Louise Snyder, author of the memoir Women We Buried, Women We Burned and the award-winning No Visible Bruises, chronicles the twenty-four hours following a mass burglary in a Chicago suburb and the suspicions, secrets, and prejudices that surface in its wake.Nestled on the edge of Chicago’s gritty west side, Oak Park is a suburb in flux. To the west, theaters and shops frame posh houses designed by Frank Lloyd Wright. To the east lies a neighborhood still recovering from urban decline. In the center of the community sits Ilios Lane, a pristine cul-de-sac dotted with quiet homes that bridge the surrounding extremes of wealth and poverty. On the first warm day in April, Mary Elizabeth McPherson, a lifelong resident of Ilios Lane, skips school with her friend Sofia. As the two experiment with a heavy dose of ecstasy in Mary Elizabeth’s dining room, a series of home invasions rocks their neighborhood. At first the community is determined to band together, but rising suspicions soon threaten to destroy the world they were attempting to create. Filtered through a vibrant pinwheel of characters, Snyder’s tour de force evokes the heightened tension of a community on edge as it builds towards an explosive conclusion. Incisive and panoramic, What We’ve Lost Is Nothing illuminates the evolving relationship between American cities and their suburbs, the hidden prejudices that can threaten a way of life, and the redemptive power of tolerance in a community torn asunder. “Ideas abound in this thoughtful story, a demonstration of the author’s years of experience as a community organizer. What We’ve Lost Is Nothing has the stamp of authenticity” (The Washington Post).

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Standardized tests have become the gateway to higher education . . . but should they be?For more than seventy-five years, standardized tests have been considered a vital tool for gauging students’ readiness for college. However, few people—including students, parents, teachers, and policy makers—understand how tests like the SAT or ACT are used in admissions decisions. Once touted as the best way to compare students from diverse backgrounds, these tests are now increasingly criticized as being biased in favor of traditionally privileged groups. A small but growing number of colleges have made such testing optional for applicants.Is this the right way to go? Measuring Success investigates the research and policy implications of test-optional practices, considering both sides of the debate. Does a test-optional policy result in a more diverse student body or improve attainment and retention rates? Drawing upon the expertise of higher education researchers, admissions officers, enrollment managers, and policy professionals, this volume is among the first to investigate the research and policy implications of test-optional practices. Although the test-optional movement has received ample attention, its claims have rarely been subjected to empirical scrutiny. This volume provides a much-needed evaluation of the use and value of standardized admissions tests in an era of widespread grade inflation. It will be of great value to those seeking to strike the proper balance between uniformity and fairness in higher education. Contributors: Andrew S. Belasco, A. Emiko Blalock, William G. Bowen, Jim Brooks, Matthew M. Chingos, James C. Hearn, Michael Hurwitz, Jonathan Jacobs, Nathan R. Kuncel, Jason Lee, Jerome A. Lucido, Eric Maguire, Krista Mattern, Michael S. McPherson, Kelly O. Rosinger, Paul R. Sackett, Edgar Sanchez, Dhruv B. Sharma, Emily J. Shaw, Kyle Sweitzer, Roger J. Thompson, Meredith Welch, Rebecca Zwick

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Tales from writers with Latinx, Caribbean, Asian, African, Arabic, North American, East European origins, and more, challenge the reader with stories that spill out into space, parallel realms or just hidden in plain sight. The stories explore the world from the perspective of the incoming, whether necessitated through war or oppression, financial or familial need, or with hope for a better future, examining visions of displacement and relocation in future and speculative settings. New stories selected from open submissions are set alongside classic sci-fi by the likes of Otto (Eando) Binder and Zenna Henderson, modern stories by such authors as Celu Amberstone and Ken Liu, and older, realist immigrant narratives by Abraham Cahan, Sui Sin Far, Lee Yan Phou, Constantine Panunzio and more. Complemented by a foreword by author E.C. Osondu and an insightful introduction by Betsy Huang, Ph.D., this is an intriguing view of the conflict and anxiety between the settled and the unsettled. The new, contemporary and notable writers featured are: Ali Abbas, Celu Amberstone, Bebe Bayliss, Christine Bennett, Ben Blattberg, Judi Calhoun, V. Castro, P.A. Cornell, Yelena Crane, Indra Das, Deborah L. Davitt, Greg van Eekhout, Louis Evans, Illimani Ferreira, Beáta Fülöp, Elana Gomel, Eileen Gonzalez, Roy Gray, Alex Gurevich, Jennifer Hudak, Jordan Ifueko, Frances Lu-Pai Ippolito, Jas Kainth, Ken Liu, Samara Lo, Kwame M.A. McPherson, E.C. Osondu, Simon Pan, C.R. Serajeddini, Bogi Takács, Kanishk Tantia, Tehnuka, Francesco Verso (translated by Michael Colbert), M. Darusha Wehm, Kevin Martens Wong, and Eris Young. The Flame Tree Gothic Fantasy, Classic Stories and Epic Tales collections bring together the entire range of myth, folklore and modern short fiction. Highlighting the roots of suspense, supernatural, science fiction and mystery stories, the books in Flame Tree Collections series are beautifully presented, perfect as a gift and offer a lifetime of reading pleasure.

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Drawing on major new archival discoveries and recent research, Patrick Lonergan presents an innovative account of Irish drama and theatre, spanning the past seventy years. Rather than offering a linear narrative, the volume traces key themes to illustrate the relationship between theatre and changes in society. In considering internationalization, the Troubles in Northern Ireland, the Celtic Tiger period, feminism, and the changing status of the Catholic Church in Ireland, Lonergan asserts the power of theatre to act as an agent of change and uncovers the contribution of individual artists, plays and productions in challenging societal norms. Irish Drama and Theatre since 1950 provides a wide-ranging account of major developments, combined with case studies of the premiere or revival of major plays, the establishment of new companies and the influence of international work and artists, including Tennessee Williams, Chekhov and Brecht. While bringing to the fore some of the untold stories and overlooked playwrights following the declaration of the Irish Republic, Lonergan weaves into his account the many Irish theatre-makers who have achieved international prominence in the period: Samuel Beckett, Siobhán McKenna and Brendan Behan in the 1950s, continuing with Brian Friel and Tom Murphy, and concluding with the playwrights who emerged in the late 1990s, including Martin McDonagh, Enda Walsh, Conor McPherson, Marie Jones and Marina Carr. The contribution of major Irish companies to world theatre is also examined, including both the Abbey and Gate theatres, as well as Druid, Field Day and Charabanc. Through its engaging analysis of seventy years of Irish theatre, this volume charts the acts of gradual but revolutionary change that are the story of Irish theatre and drama and of its social and cultural contexts.

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An exceptional addition to the stunning, richly-rewarding short story collections of Flame Tree’s Gothic Fantasy series, with intriguing and thrilling tales from both new submissions and ancient sources. Plato’s Lost Atlantis thought-experiment began in Timaeus with the idea of a perfect society lost to the world, but it has haunted the speculative mind for over 2000 years, bearing powerful narratives of Francis Bacon’s New Atlantis and the Utopian tales of Thomas More, Samuel Butler, William Morris, Charlotte Perkins Gilman and in modern times, TV series and short stories galore. An imaginative tour-de-force that examines the nature and desires of humanity, from Antiquity to the present day. New, contemporary and notable writers featured are: Ash Arya, Rose Beardmore, Leah Cypess, Niya M.K. Davis, Deborah L. Davitt, Tracy Fahey, Isobel Granby, John Linwood Grant, David Hankins, M.K. Hutchins, Karl Sade, Silas Leavitt, Kwame M.A. McPherson, Damien Mckeating, John Moralee, Barry Neenan, Spencer Orey, Erica Ruppert, C.R. Serajeddini, Zach Shephard, Calie Voorhis, and Lucy Zhang. These appear alongside classic work by Francis Bacon, Lord Dunsany, Clark Ashton Smith, Jules Verne and more. The gorgeous editions of Flame Tree Gothic Fantasy, Classic Stories and Epic Tales collections bring together the entire range of myth, folklore and modern short fiction. Highlighting the roots of suspense, supernatural, science fiction and mystery stories, the books in Flame Tree Collections series are beautifully presented, perfect as a gift and offer a lifetime of reading pleasure. Jennifer Fuller (foreword) is a Communications and Training Lead at Sierra 7 where she works to provide high-quality trainings and communications support for Veterans Affairs. Previously, she was a college professor serving at Jackson State University, Idaho State University, and Warner University. Her previous book Dark Paradise was a work of literary criticism that explored the Pacific islands through the lens of nineteenth-century literature. Her love of islands (and science fiction) is a theme that carries through much of her work, including her current co-authored project Beyond Atlantis: Islands of Imagination.

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Modern megachurches that dot the nation’s landscape may seem unorthodox with their stadium seating and showbiz flourishes, but they are deeply rooted in America’s history of mass evangelical movements that blend business principles and media savvy. In this even-handed and meticulously researched book, award-winning journalist and author David Clary traces the longstanding entrepreneurial roots of evangelicalism, and how America provided a perfect backdrop for the creation and proliferation of a movement and its enterprising preachers. In the beginning of the 19th century, George Whitefield transcended sectarianism and took his message to the people. Successors like Dwight L. Moody and ballplayer-turned-fundamentalist-preacher Billy Sunday united big business and revivalism. The flamboyant Los Angeles preacher Aimee Semple McPherson knew that radio’s intimacy was ideal for listeners seeking a personal relationship with Jesus and became the first American woman to hold a radio broadcasting license in 1924. Early to proponents the benefits of television, Billy Graham and Oral Roberts built multimedia empires with Graham embarking on worldwide crusades and counseling U.S. presidents. Protestant minister Norman Vincent Peale’s potent cocktail of psychology, self-help, and business tips framed by biblical guideposts sowed the seeds of today’s popular “prosperity gospel”. In the 1970s, Pat Robertson and Jerry Falwell took up the torch of televangelism while still engaging in the business of winning souls and advancing their political ideas (political ideas that run much deeper than any one president or politician). Today’s prosperity megachurches – most notably Joel Osteen’s Lakewood Church in Houston – may seem crass, but their message that believers can improve their material fortunes through faith is a powerful and pervasive one in America.This legacy even informs today’s evangelical pastors, who are trained to impose a corporate structure upon their churches. Soul Winners is a thoughtful and informative history that reveals the longstanding connections between business, politics, and religion in America, and the profound effect that evangelism has had on the country.

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The history of blacks at Harvard mirrors, for better or for worse, the history of blacks in the United States. Harvard, too, has been indelibly scarred by slavery, exclusion, segregation, and other forms of racist oppression. At the same time, the nation's oldest university has also, at various times, stimulated, supported, or allowed itself to be influenced by the various reform movements that have dramatically changed the nature of race relations across the nation. The story of blacks at Harvard is thus inspiring but painful, instructive but ambiguous—a paradoxical episode in the most vexing controversy of American life: the "race question." The first and only book on its subject, Blacks at Harvard is distinguished by the rich variety of its sources. Included in this documentary history are scholarly overviews, poems, short stories, speeches, well-known memoirs by the famous, previously unpublished memoirs by the lesser known, newspaper accounts, letters, official papers of the university, and transcripts of debates. Among Harvard's black alumni and alumnae are such illustrious figures as W.E.B. Du Bois, Monroe Trotter, and Alain Locke; Countee Cullen and Sterling Brown both received graduate degrees. The editors have collected here writings as diverse as those of Booker T. Washington, William Hastie, Malcolm X, and Muriel Snowden to convey the complex ways in which Harvard has affected the thinking of African Americans and the ways, in turn, in which African Americans have influenced the traditions of Harvard and Radcliffe. Notable among the contributors are significant figures in African American letters: Phyllis Wheatley, William Melvin Kelley, Marita Bonner, James Alan McPherson and Andrea Lee. Equally prominent in the book are some of the nation's leading historians: Carter Woodson, Rayford Logan, John Hope Franklin, and Nathan I. Huggins. A vital sourcebook, Blacks at Harvard is certain to nourish scholarly inquiry into the social and intellectual history of African Americans at elite national institutions and serves as a telling metaphor of this nation's past.

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Winner of the PEN Oakland–Josephine Miles Award“A stunning portrayal of a tragedy endured and survived by women.”—David W. Blight, author of Frederick Douglass“Readers expecting hoop-skirted ladies soothing fevered soldiers’ brows will not find them here…Explodes the fiction that men fight wars while women idle on the sidelines.”—Washington PostThe idea that women are outside of war is a powerful myth, one that shaped the Civil War and still determines how we write about it today. Through three dramatic stories that span the war, Stephanie McCurry invites us to see America’s bloodiest conflict for what it was: not just a brothers’ war but a women’s war.When Union soldiers faced the unexpected threat of female partisans, saboteurs, and spies, long held assumptions about the innocence of enemy women were suddenly thrown into question. McCurry shows how the case of Clara Judd, imprisoned for treason, transformed the writing of Lieber’s Code, leading to lasting changes in the laws of war. Black women’s fight for freedom had no place in the Union military’s emancipation plans. Facing a massive problem of governance as former slaves fled to their ranks, officers reclassified black women as “soldiers’ wives”—placing new obstacles on their path to freedom. Finally, McCurry offers a new perspective on the epic human drama of Reconstruction through the story of one slaveholding woman, whose losses went well beyond the material to intimate matters of family, love, and belonging, mixing grief with rage and recasting white supremacy in new, still relevant terms.“As McCurry points out in this gem of a book, many historians who view the American Civil War as a ‘people’s war’ nevertheless neglect the actions of half the people.”—James M. McPherson, author of Battle Cry of Freedom“In this brilliant exposition of the politics of the seemingly personal, McCurry illuminates previously unrecognized dimensions of the war’s elemental impact.”—Drew Gilpin Faust, author of This Republic of Suffering

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WINNER OF THE WHITING AWARDPEN AMERICA LITERARY AWARD FINALISTRecommended by Héctor Tobar as an essential Los Angeles book in the New York Times.Carribean Fragoza's debut collection of stories reside in the domestic surreal, featuring an unusual gathering of Latinx and Chicanx voices from both sides of the U.S./Mexico border, and universes beyond."Eat the Mouth That Feeds You is an accomplished debut with language that has the potential to affect the reader on a visceral level, a rare and significant achievement from a forceful new voice in American literature."—Kali Fajardo-Anstine, New York Times Book Review, and author of Sabrina and CorinaCarribean Fragoza's imperfect characters are drawn with a sympathetic tenderness as they struggle against circumstances and conditions designed to defeat them. A young woman returns home from college, only to pick up exactly where she left off: a smart girl in a rundown town with no future. A mother reflects on the pain and pleasures of being inexorably consumed by her small daughter, whose penchant for ingesting grandma's letters has extended to taking bites of her actual flesh. A brother and sister watch anxiously as their distraught mother takes an ax to their old furniture, and then to the backyard fence, until finally she attacks the family’s beloved lime tree.Victories are excavated from the rubble of personal hardship, and women's wisdom is brutally forged from the violence of history that continues to unfold on both sides of the US-Mexico border."Eat the Mouth that Feeds You renders the feminine grotesque at its finest."—Myriam Gurba, author of Mean"Eat the Mouth that Feeds You will establish Fragoza as an essential and important new voice in American fiction."—Héctor Tobar, author of The Barbarian Nurseries"Fierce and feminist, Eat the Mouth That Feeds You is a soul-quaking literary force."—Dontaná McPherson-Joseph, The Foreword, *Starred Review". . . a work of power and a darkly brilliant talisman that enlarges in necessary ways the feminist, Latinx, and Chicanx canons."—Wendy Ortiz, Alta Magazine"Fragoza's surreal and gothic stories, focused on Latinx, Chicanx, and immigrant women's voices, are sure to surprise and move readers."—Zoe Ruiz, The Millions"This collection of visceral, often bone-chilling stories centers the liminal world of Latinos in Southern California while fraying reality at its edges. Full of horror and wonder."—Kirkus Reviews, *Starred Review"Fragoza's debut collection delivers expertly crafted tales of Latinx people trying to make sense of violent, dark realities. Magical realism and gothic horror make for effective stylistic entryways, as Fragoza seamlessly blurs the lines between the corporeal and the abstract."—Publishers Weekly"The magic realism of Eat the Mouth that Feeds You is thoroughly worked into the fabric of the stories themselves . . . a wonderful debut."—Brian Evenson, author of Song for the Unraveling of the World

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Encompassing new technologies, research methods, and opportunities for collaborative scholarship and open-source peer review, as well as innovative ways of sharing knowledge and teaching, the digital humanities promises to transform the liberal arts—and perhaps the university itself. Indeed, at a time when many academic institutions are facing austerity budgets, digital humanities programs have been able to hire new faculty, establish new centers and initiatives, and attract multimillion-dollar grants. Clearly the digital humanities has reached a significant moment in its brief history. But what sort of moment is it? Debates in the Digital Humanities brings together leading figures in the field to explore its theories, methods, and practices and to clarify its multiple possibilities and tensions. From defining what a digital humanist is and determining whether the field has (or needs) theoretical grounding, to discussions of coding as scholarship and trends in data-driven research, this cutting-edge volume delineates the current state of the digital humanities and envisions potential futures and challenges. At the same time, several essays aim pointed critiques at the field for its lack of attention to race, gender, class, and sexuality; the inadequate level of diversity among its practitioners; its absence of political commitment; and its preference for research over teaching.Together, the essays in Debates in the Digital Humanities—which will be published both as a printed book and later as an ongoing, open-access website—suggest that the digital humanities is uniquely positioned to contribute to the revival of the humanities and academic life.Contributors: Bryan Alexander, National Institute for Technology in Liberal Education; Rafael Alvarado, U of Virginia; Jamie “Skye” Bianco, U of Pittsburgh; Ian Bogost, Georgia Institute of Technology; Stephen Brier, CUNY Graduate Center; Daniel J. Cohen, George Mason U; Cathy N. Davidson, Duke U; Rebecca Frost Davis, National Institute for Technology in Liberal Education; Johanna Drucker, U of California, Los Angeles; Amy E. Earhart, Texas A&M U; Charlie Edwards; Kathleen Fitzpatrick, Pomona College; Julia Flanders, Brown U; Neil Fraistat, U of Maryland; Paul Fyfe, Florida State U; Michael Gavin, Rice U; David Greetham, CUNY Graduate Center; Jim Groom, U of Mary Washington; Gary Hall, Coventry U, UK; Mills Kelly, George Mason U; Matthew Kirschenbaum, U of Maryland; Alan Liu, U of California, Santa Barbara; Elizabeth Losh, U of California, San Diego; Lev Manovich, U of California, San Diego; Willard McCarty, King’s College London; Tara McPherson, U of Southern California; Bethany Nowviskie, U of Virginia; Trevor Owens, Library of Congress; William Pannapacker, Hope College; Dave Parry, U of Texas at Dallas; Stephen Ramsay, U of Nebraska, Lincoln; Alexander Reid, SUNY at Buffalo; Geoffrey Rockwell, Canadian Institute for Research Computing in the Arts; Mark L. Sample, George Mason U; Tom Scheinfeldt, George Mason U; Kathleen Marie Smith; Lisa Spiro, National Institute for Technology in Liberal Education; Patrik Svensson, Umeå U; Luke Waltzer, Baruch College; Matthew Wilkens, U of Notre Dame; George H. Williams, U of South Carolina Upstate; Michael Witmore, Folger Shakespeare Library.

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When new bride Kaveri Murthy reluctantly agrees to investigate a minor crime during the blood moon eclipse to please her domineering mother-in-law, she doesn't expect to stumble upon a murder - again.With anti-British sentiments on the rise, a charismatic religious leader growing in influence, and the fight for women's suffrage gaining steam, Bangalore is turning out to be a far more dangerous place than Kaveri ever imagined, and everyone's motives are suspect.Together with the Bangalore Detectives Club - a mixed bag of people including street urchins, nosy neighbours, an ex-prostitute and a policeman's wife - Kaveri once again sleuths in her sari and hunts for clues in her beloved 1920s Ford. But when Kaveri's life is suddenly put in danger, she realizes that she might be getting uncomfortably close to the truth. So she must now draw on her wits and find the killer -- before they find her...Praise for Harini Nagendra 'A gorgeous debut mystery with a charming and fearless sleuth . . . spellbinding' SUJATA MASSEY'Told with real warmth and wit. . . A perfect read for fans of Alexander McCall Smith and Vaseem Khan' - ABIR MUKHERJEE'A cosy mystery that warmly illuminates a time and place not often examined in fiction' VASEEM KHAN'A beautifully painted picture of a woman's life in 1920s India' M W CRAVEN'A delight' CATRIONA MCPHERSON'The classic whodunnit with the added appeal of a female sleuth in Colonial India. . . fascinating' RHYS BOWEN'Told with real warmth and wit. . . Harini Nagendra has created an intricate and fiendish mystery with a wonderful duo of amateur sleuths Kaveri and Ramu at its heart, and capturing the atmosphere and intensity of Bangalore in the roaring twenties. I can't wait for the next instalment. A perfect read for fans of Alexander McCall Smith and Vaseem Khan' - ABIR MUKHERJEE'Riveting. [Nagendra's] use of colonial history is thoroughly fascinating, with devastating depictions of the airy condescension of the British. A fine start to a promising series' BOOKLIST Starred Review'Harini Nagendra takes us to a wonderfully unfamiliar world in this delightful debut mystery. . .I couldn't put it down' VICTORIA THOMPSON, USA Today bestselling author of Murder on Madison Square'Absolutely charming . . . this one is a winner!' CONNIE BERRY, USA Today best-selling and Agatha-nominated author of The Kate Hamilton Mysteries.'An enjoyable trip back in time with a spunky young woman for company.' R V RAMAN, author of Fraudster and A Will to Kill'This lush mystery will transport you to heady 1920s Bangalore, where new bride Kaveri stumbles into sleuthing-while dragging her doctor-husband into the fray. Mouth-watering fashion and food set against simmering colonial intrigue in this delicious whodunit can be devoured in one sitting.' SUMI HAHN, author of The Mermaid from Jeju'I loved The Bangalore Detectives Club . . . Kaveri especially is charming.' OVIDIA YU, author of The Cannonball Tree Mystery'Nagendra makes her fiction debut with an exceptional series launch. . . rich, edifying, and authentic' Publishers Weekly, Starred Review'Deliciously exotic' Sunday Post

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'The Dictionary of Crime is now the first book I reach for when beginning a new novel. An essential resource, it's packed with explanations, insider information, contemporary and historical slang, as well as some downright bizarre laws and practices. It's funny, fascinating and a damn good read'M. W CRAVEN, winner of the 2019 Crime Writers Association Gold Dagger for best crime novel of the year for The Puppet Show'A really good idea . . . executed neatly to come up with the perfect gift for crime lovers' MAT COWARD, Morning Star'I found myself rolling around in it for hours, like a gangster's moll on a bed full of money. Sheer delight!' CATRIONA McPHERSON'Where was this book when I started writing? From Aconite to the Zodiac Killer is the essential companion for any serious reader or writer of crime'LEYE ADENLE, author of When Trouble Sleeps'A fascinating compendium of crime facts which should be on the shelves of every crime writer ­­- and every crime reader'SIMON BRETT'This is a dangerous book in so many ways, chock full of ways of killing people, from undetectable poisons to various types of guns. It contains riveting accounts of notorious murderers, is crammed with fascinating details of slang, and precise particulars of police procedures. The perfect gift for any true crime enthusiast and an indispensable guide for all crime fiction writers.'S. W. WILLIAMS, author of Small Deaths and How to Write Crime Fiction'A remarkable achievement. At once elucidating and compelling, indispensable and unputdownable. It reads like a page-turning thriller. Whether a crime writer who needs to distinguish a blood agent from a bum beef or a reader with an interest in queer coal makers, this lexicon will keep you hooked, and leave you sublimely informed.'GARY DONNELLY, author of Killing in Your Name and Blood Will Be Born'Fascinating, insightful and taking up permanent residency on my desk. Amanda Lees' Dictionary of Crime is my new bible!' CHRIS WHITTAKER, award-winning author of Tall Oaks, All The Wicked Girls and We Begin at the End'What a little gem this is ­- such a great idea and a valuable resource for writers. I found myself dipping into it at intervals and marvelling at the extent of the research that's gone into it, as well as chuckling over some of the more unusual entries. My personal favourites? BINGO seat, nicker, moll buzzer and lully-prigger. Wouldn't have had a clue what they meant . . . but I'm determined to work them in somewhere in a future novel!'G. J. MINETTT, author of The Syndicate 'A fascinating journey through the dark side of the human psyche. Highly recommended for anyone interested in criminals and crime'PATRICK REDMOND, bestselling author of The Wishing GameAn essential popular A-Z reference guide for fans of crime fiction and true crime, in books, TV and film, helping to make sense of everything from asphyxiation to VX nerve agent.This is an indispensable guide for fans of true crime and crime fiction, whether in books, film or on TV, who want to look behind the crime, to understand the mechanics of an investigation, to walk in their favourite detectives' shoes and, most importantly, to solve the clues. To do that, one needs to be fluent in the language of the world of crime. We need to know what that world-weary DI is talking about when she refers to another MISPER. We have to immediately grasp the significance of the presence of paraquat, and precisely why it is still a poison of choice. If you want to know how many murders it takes for a killer to be defined as a serial killer, what Philip Marlowe means when he talks about being 'on a confidential lay' and why the 'fruit of a poisonous tree' is a legal term rather than something you should avoid on a country walk, this is the reference book you've been waiting for. It covers police and procedural terms and jargon of many different countries; acronyms; murder methods; criminal definitions, including different types of killers; infamous killers and famous detectives; notorious cases often referred to in crime fiction and true crime; gangster slang, including that of the Eastern European mafia; definitions of illegal drugs; weapons; forensic terminology; types of poisons; words and phrases used in major crime genres, including detective fiction, legal thrillers, courtroom dramas, hardboiled crime, Scandi and Tartan Noir, cosy crime and psychological thrillers; criminology terms; and the language of the courts and the legal systems of British, American, French, Nordic and other countries. From Aconite to the Zodiac Killer is an essential, go-to resource for readers and even for writers of crime fiction. More than simply a glossary, this is a guide that provides a doorway into a supergenre, and one that is not just for readers, but also for the many fans of film and TV dramas, of podcasts, and crime blogs. It is also an indispensable resource for writers or would-be writers of crime fiction.

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Can music really arouse emotions? If so, what emotions, and how? Why do listeners respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictional events in art as if they were real, even though we know they're not? What is it that makes a performance of music emotionally expressive? Based on ground-breaking research, Musical Emotions Explained explores how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. Within the book, Juslin demonstrates how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states - from startle responses to profound aesthetic emotions. He also explores why these mechanisms respond to music. Written by one of the leading researchers in the field, the book is richly illustrated with music examples from everyday life, and explains with clarity and rigour the manifold ways in which music may engage our emotions. Advance praise Musical Emotions Explained is a magnificent publication that has been painstakingly researched to illuminate the many, varied ways music can express and arouse emotions. It provides the most authoritative single authored text on the topic so far. As a highly readable and informative publication, it superbly unlocks the secrets of musical affect for experienced researchers through to lay readers alike. Gary E. McPherson, Ormond Chair of Music and Director, Melbourne Conservatorium of Music, Australia Anyone who wants to understand more about the most essential quality of music - its ability to move us - needs to read this book. Juslin's writing is gripping and thoughtful as he takes us on a journey through the latest research on this most interesting intersection between science and art. Daniel J. Levitin, Author of This Is Your Brain on Music and The World in Six Songs. Music Emotions Explained is a tour de force. In this extraordinary book, written with passion and humor, Patrik Juslin shares insights gleaned from decades of ground-breaking research. Breadth and depth are nicely balanced as grand, over-arching themes are richly supported by systematic and detailed research findings. This book will serve as an inviting introduction to students or interested laypersons but also as a touchstone to which professionals will return frequently for guidance and inspiration. Donald A. Hodges, Professor Emeritus, University of North Carolina at Greensboro, USA Patrik Juslin here deftly synthesizes several decades of psychological research, much of it his own, on how music both expresses emotion and moves us emotionally, in the course of developing an empirically grounded, evolutionarily based, philosophically informed theory of the phenomenon in question, doing so with style and wit. Musical Emotion Explained is wide ranging, engagingly written, full of arresting claims, and studded with telling anecdotes. It is a book that everyone who has ever marveled at the affective power of music should read. Jerrold Levinson, Distinguished University Professor, Department of Philosophy, University of Maryland, USA Musical Emotions Explained is essential reading that sets the new gold standard resource for understanding the delicious pleasures of music experience. Using lucid, witty and compelling arguments, Patrik Juslin illustrates a set of core mechanisms that collectively account for music-evoked emotions. Scholars, general readers and musicians will be inspired by this landmark work, which will stimulate research for decades to come. Bill Thompson, Distinguished Professor, Macquarie University, Sydney, Australia It goes without saying that Patrik Juslin is one of the world's top experts on the science of musical emotion. What this book reveals is that he is a hugely persuasive and accessible interlocutor. It really feels as though one is in conversation with a friend who is thinking issues and arguments through with the reader, step by step. Of course all the important literature is covered, but this is far from a dry literature review. Juslin's book should excite and stimulate layreaders and professional colleagues alike to deepen their understanding of what makes music emotional. John Sloboda, Research Professor, Guildhall School of Music & Drama, London, UK The best comprehensive and critically explanatory tome to-date on one of the most fascinating and still poorly understood topics in music research, written by the foremost international expert on music and emotion. A treasure for decades to come. Michael Thaut, Professor of Music, Neuroscience and Rehabilitation Science, University of Toronto, Canada In Musical Emotions Explained, Patrik Juslin probes and proffers many psychological and philosophical concepts of musical emotions toward unpacking numerous mysteries surrounding the arousal and expression of musical affect. The results of his meticulous research have profound implications for experiencing, creating, valuing, and teaching music. Written with great care and passion, this brilliant book is a must-read for anyone who takes a serious interest in the nature and values of music in people's lives. David Elliott, Professor of Music and Music Education, New York University, USA Patrik Juslin has been at the forefront of research into music and emotion for more than 20 years. Adding to what is already an astonishing body of work, this hugely impressive monograph is the culmination of that remarkable programme of research. Witten in an accessible and engaging style, and covering a huge range of perspectives, this is a book that will undoubtedly become a classic in the psychology of music, an indispensable resource for researchers in the field, and a fascinating read for those who may be new to the topic. Eric Clarke FBA, Heather Professor of Music, University of Oxford, UK

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