Search results for ""Sublime""

The sequel to the Man Booker Prize-shortlisted The Unseen"A gifted writer, stylish, laconic and imaginative" Paul Owen, TLS"A beautiful sequel to The Unseen, set around the remote & unforgiving island of Barrøy during WWII. A note-perfect combination of taciturnity, austerity, passion and weather. Sublime" - Rónán Hession, author of Leonard and Hungry PaulNo-one can be alone on an island . . . But Ingrid is alone on Barrøy, the island that bears her name, while the war of her childhood has been replaced by a new more terrible war and Norway is under the Nazi boot.When the bodies from a bombed troopship begin to wash up on the shore, Ingrid cannot know that one will be alive and warm enough to erase a lifetime of loneliness.She cannot know what she will suffer in protecting her lover from the Germans and their Norwegian collaborators, nor the journey she will face, wrenched from her island once more, to return home.Or that, amid the suffering of war, among refugees fleeing famine and scorched-earth retreats, she will be given a gift whose value is beyond measure.Reviews for The Unseen"Easily among the best books I have ever read" Eileen Battersby, Irish Times"The Unseen is a blunt, brilliant book" Tom Graham, Guardian"The Unseen is a towering achievement that would be a deserved Booker International winner" Charlie Connolly, New EuropeanTranslated from the Norwegian by Don Bartlett and Don Shaw

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'A truly fine police procedural' IRISH INDEPENDENT'Utterly compelling' JANE CASEY'A superbly paced, engaging read' WOMAN'S WAY BRILLIANCE CAN BE DEADLY . . . When Detective Cormac Reilly's girlfriend Emma stumbles across the victim of a hit and run early one morning, he is first on the scene of a murder that would never have been assigned to him. The investigation promises to be high profile and high pressure: the dead girl is carrying an ID, that of Carline Darcy, heir apparent to Ireland's most successful pharmaceutical company. Darcy Therapeutics has a finger in every pie, including the laboratory where Emma works.As Cormac investigates, evidence mounts that the death is linked to the lab and, increasingly, to Emma herself. Cormac is sure she couldn't be involved, but how well does he really know her? After all, this isn't the first time Emma's been accused of murder . . .******Praise for Dervla McTiernan:'Excellently written and, at times, heartcatchingly sad' MARIAN KEYES'Dervla McTiernan is a future star of the genre' CHRIS BROOKMYRE'Brilliantly crafted' SUNDAY MIRROR'An exciting new voice in Irish noir' SUNDAY TIMES'As moving as it is fast-paced' VAL McDERMID'Absolutely brilliant. Wonderful characters, authentic setting, and a sublime, twisty plot' IRISH EXAMINER'Fans of Tana French will love McTiernan's expertly plotted, complex web of secrets' KAREN DIONNE'Excellent . . . this one was a winner for me!' ALEX GRAY'Loved every page . . . Cormac Reilly is a brilliant new character' SAM BLAKE 'Intelligent, compassionate and believable' SINEAD CROWLEY

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'beauty has purport and significance only for human beings, for beings at once animal and rational' In the Critique of Judgement (1790) Kant offers a penetrating analysis of our experience of the beautiful and the sublime, discussing the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the apparent purposiveness of nature with respect to the highest interests of reason and enlightenment. The work profoundly influenced the artists and writers of the classical and romantic period and the philosophy of Hegel and Schelling. It has remained a central point of reference from Schopenhauer and Nietzsche through to phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics and contemporary critical theory. J. C. Meredith's classic translation has been revised in accordance with standard modern renderings and provided with a bilingual glossary. This edition also includes the important 'First Introduction' that Kant originally composed for the work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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The exhibition at the Collection Lambert explores the roots of the raw energy contained in Jean-Michel Basquiat’s paintings and questions the unusual qualities of a body of work both visceral and self-aware, so much more than the sum of its unusual parts, through which the talent of a young prodigy shines through. In the 1980s, Jean-Michel Basquiat burst onto the art scene offering a new vision of art, putting painting back at its heart at the very moment the medium had been consigned to history. His work brings together the artist’s own sources, intuitions and extraordinary talent. Like a DJ mixing forms, Basquiat took shapes and colors into new creative territories.His formal vocabulary is clearly inspired by Picasso, Matisse and Twombly, drawing on their fondness for primary colours, fragmented subjects, disturbing faces, dissonant colours and forms, and crudely crafted compositions or objects. Like them, he steps away from cold virtuosity and appeals instead to naivety and ungainliness to restore pure energy to art while reaching for the sublime to create a work both sensitive yet engaging.The book features a presentation from the exhibition’s curator and an interview with Yvon Lambert about his relationship with the artist. Alongside the artist’s own work, it also features an extensive selection of works by Matisse, Picasso and Twombly from the Collection Lambert’s own permanent collection and exceptional loans from private collections and major institutions.

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Emptiness and Temporality is an account of classical Japanese poetics based, for the first time, on the two concepts of emptiness (J.kū) and temporality (mujō) that ground the medieval practice and understanding of poetry. It clarifies the unique structure of the collective poetic genre called renga (linked poetry) by analyzing Shinkei's writings, particularly Sasamegoto. This book engages contemporary Western theory, especially Derrida's concepts of différance and deconstruction, to illuminate the progressive displacement that constitutes the dynamic poetry of the renga link as the sequence moves from verse 1 to 100. It also draws on phenomenology, Heidegger's Being and Time, Bakhtin's notion of the dialogical, Gadamer's Truth and Method, hermeneutics, and the concept of translation to delve into philosophical issues of language, mind, and the creative process. Furthermore, the book traces the development of the Japanese sense of the sublime and ineffable (yūgen and its variants) from the identification, by earlier waka poets like Shunzei and Teika, of their artistic practice with Buddhist meditation (Zen or shikan), and of superior poetry as the ecstatic figuration of the Dharma realm. Emptiness and Temporality constitutes a radically new definition of Japanese poetry from the medieval period onward as a symbolist poetry, a figuration of the sacred rather than a representation of nature, and reveals how the spiritual or moral dimension is essential to an understanding of traditional Japanese aesthetic ideals and practices, such as Nô performance, calligraphy, and black-ink painting.

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Defying comprehension, the tragic history of the Holocaust has been alternately repressed and canonized in postmodern Western culture. Recently our interpretation of the Holocaust has been the center of bitter controversies, from debates over Paul de Man's collaborationist journalism and Martin Heidegger’s Nazi past to attempts by some historians to downplay the Holocaust’s significance. A major voice in current historiographical discussions, Dominick LaCapra brings a new clarity to these issues as he examines the intersections between historical events and the theory through which we struggle to understand them.In a series of essays—three published here for the first time—LaCapra explores the problems faced by historians, critics, and thinkers who attempt to grasp the Holocaust. He considers the role of canon formation and the dynamic of revisionist historiography, as well as critically analyzing responses to the discovery of de Man’s wartime writings. He also discusses Heidegger’s involvement with National Socialism, and he sheds light on postmodernist obsessions with such concepts as loss, agora, dispossession, deferred meaning, and the sublime. Throughout, LaCapra demonstrates that psychoanalysis is not merely a psychology of the individual but that its concepts have sociocultural dimensions and can help us perceive the relationship between the present and the past. Many of our efforts to comprehend the Holocaust, he shows, continue to suffer from the traumatizing effects of its events and require a "working through" of that trauma if we are to gain a more profound understanding of the meaning of the Holocaust.

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Enlightenment - both the phenomenon specific to the eighteenth century and the continuing trend in Western thought - is an attempt to dispel ignorance, achieve mastery of a potentially hostile environment, and contain fear of the unknown by promoting science and rationality. Enlightenment is often accompanied and challenged by countercultures such as German Romanticism, which explored the nature of fear and deployed it as a corrective to the excesses of rationalism. The Aesthetics of Fear in German Romanticism uncovers the formative role this movement played in the development of dark or negative aesthetics. Recovering a missing chapter in the history of the aesthetics of fear, Paola Mayer illustrates that Romanticism was a crucial transitional phase between the eighteenth-century sublime and the early twentieth-century uncanny. Mayer puts literature and philosophy in dialogue, examining how German Romantic literature employed narratives of fear to radicalize and then subvert the status quo in society, culture, and science. She traces the development of this aesthetic from its inception with pre-Romantics such as Jean Paul Richter to its end in Joseph von Eichendorff's critical retrospective, and juxtaposes canonical authors such as E.T.A. Hoffmann - the father of the modern fantastic - with writers who have previously been ignored. Today, when the dark side of science looms in the foreground, The Aesthetics of Fear in German Romanticism points to the power of a literary movement to construct competing currents of thought.

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An extended philosophical analysis of the concept of judgement, important in many areas of contemporary philosophy, including epistemology, the philosophy of value and aesthetics. Kant's philosophy understands judgement in different ways in the cognition of nature, the appreciation of natural beauty, and in the determination of moral action. This book aims to explore these three 'philosophies' of judgement, producing in the process a new and creative reading of Kant's work. The result is a unique book-length study of judgement in general. At the core of this reading is an interpretation of how Kant understands reflection, presentation and activity. Novel aspects include accounts of the transcendental object, the implications of considering cognition as an activity, the structure of sensible givenness, Kant on the sublime, and the moral argument. The book draws upon ideas from within the Continental philosophy tradition, particularly from Nietzsche, Heidegger and Deleuze. To Nietzsche there is devoted a whole chapter on the subject of sensation and physics, which aims to expand upon and illuminate parallel discussions in the reading of Kant. Readers will find much of interest in this wide-ranging text, including treatments of key features in Kant's epistemology, philosophy of mind, aesthetics, philosophy of religion as well as his practical philosophy. Features * The first book to consider Kant's account of judgement in general. * A unique interpretation of Kant, employing philosophers in the Continental tradition - e.g Nietzsche, Heidegger and Deleuze. * Contains a sustained study of Nietzsche on the subject of sensation and physics.

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Jung: A Feminist Revision explores the relationship between feminist theory and Jungian studies. It combines an original student-friendly introduction to Jung, his life and work, his treatment of gender and the range of post-Jungian gender theory, with new research linking Jung to deconstruction, post-Freudian feminism, postmodernism, the sublime, and the postmodern body. Feminism has neglected Jung to its own detriment. While evaluating the reasons for this neglect, Jung: A Feminist Revision uses the diversity of feminist critical tools from historical analysis to poststructuralism. In a fresh and illuminating study, this book provides both a critique of Jung and demonstrates his positive potential for future feminisms. New theories are explored which develop relationships between the work of Jung and Jacques Lacan, Luce Irigaray, Hélène Cixous, Julia Kristeva and Judith Butler. Particular attention is paid to the growth of post-Jungian studies of gender. This includes a cogent study of the tradition of Jungian feminism that looks to ‘the feminine principle' and narratives of goddesses. Jungian 'goddess' feminism's enduring appeal is re-examined in the context of postmodern re-thinking of subjectivity and gender. The book proposes a re-orientation of Jungian studies in its relationship to feminism. The result is an accessible text that introduces Jung and sets out his relevance to contemporary feminisms. This book will be essential reading for undergraduates and postgraduates studying feminist theory, psychoanalytical theory, literature and psychology.

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Concern about the climate crisis is widespread as humans struggle to navigate life in uncertain times. From the vantage of a schooner full of artists on an adventure in the high Arctic, biologist Lynne Quarmby explains the science that convinced her of an urgent need to act on climate change and recounts how this knowledge - and the fear and panic it elicited - plunged her into unsustainable action, ending in arrests, lawsuits, and a failed electoral campaign on behalf of the Green Party of Canada.Watermelon Snow weaves memoir, microbiology, and artistic antics together with descriptions of a sublime Arctic landscape. At the top of the warming world, Quarmby struggles with burnout and grief while an aerial artist twirls high in the ship's rigging, bearded seals sing mournfully, polar bears prowl, and glaciers crumble into the sea. In a compelling narrative, sorrow and fear are balanced by beauty and wonder. The author's journey back from a life out of balance includes excursions into evolutionary history where her discoveries reveal the heart of human existence. The climate realities are as dark as the Arctic winter, yet this is a book of lightness and generosity. Quarmby's voice, intimate and original, illuminates the science while offering a reminder that much about the human experience is beyond reason.Inspiring and deeply personal, Watermelon Snow is the story of one scientist's rediscovery of what it means to live a good life at a time of increasing desperation about the future.

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Over the course of her career, Barbara Stafford has established herself the preeminent scholar of the intersections of the arts and sciences, articulating new theories and methods for understanding the sublime, the mysterious, the inscrutable. Omnivorous in her research, she has published work that embraces neuroscience and philosophy, biology and culture, pinpointing connections among each discipline's parallel concerns. Ribbon of Darkness is a monument to the scope of her work and the range of her intellect. At times associative, but always incisive, the essays in this new volume take on a distinctly contemporary purpose: to uncover the ethical force and moral aspects of overlapping scientific and creative inquiries. This shared territory, Stafford argues, offers important insights into--and clarifications of--current dilemmas about personhood, the supposedly menial nature of manual skill, the questionable borderlands of gene editing, the potentially refining value of dualism, and the limits of a materialist worldview. Stafford organizes these essays around three concepts that structure the book: inscrutability, ineffability, and intuitability. All three, she explains, allow us to examine how both the arts and the sciences imaginatively infer meaning from the "veiled behavior of matter," bringing these historically divided subjects into a shared intellectual inquiry and imbuing them with an ethical urgency. A vanguard work at the intersection of the arts and sciences, this book will be sure to guide readers from either realm into unfamiliar yet undeniably fertile territory.

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Many artists long to paint mountains - to capture their grandeur, their character and perhaps their tranquility. This practical book explains the key elements of portraying their magnificence and also advises how to reproduce the magic of a scene. With step-by-step instructions and clear, detailed advice throughout, it guides the painter through the techniques so you can express your own vision of the mountains and capture one of the greatest scenes of the natural landscape. The author's deep understanding and love of the mountains shines through the text and the paintings. There is advice on choosing mediums, brushes and surfaces, and using a limited colour palette both for en plein air and studio painting. Incorporates different features of the mountainscape - crags, slopes, rocks, lakes, woodland, cottages, animals and figures - to add life and interest to a painting. The author captures the transient and often dramatic effects of light on the mountain landscape, including the special magic of sunsets. Injects mood into a painting, from the excitement of a sublime storm to a sense of peace and refuge. Specific advice on painting sky, water and trees, and tips on using them in an effective composition. Finally, step-by-step, illustrated and detailed exercises show how to work down from the sky to the foreground, add detail, enrich hues, and increase contrast between light and shade. It is a handy guide for all artists and an inspiration to everyone who loves mountain scenery.

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A collection of twenty-two disturbing tales of crime and suspense from literary icon Joyce Carol Oates, author of Blonde and 'America's preeminent fiction writer' (New Yorker). Two hitmen in a depressed rust belt town struggle with a job gone wrong. A girl witnesses a horrifying accident and carries it with her for the rest of her life. Medical students bring a severed foot to a college party. Five-time Pulitzer Prize finalist Joyce Carol Oates has made a career of exploring the forbidden corners of human experience, and the stories collected here, spanning her first three decades as a writer, are among her most unsettling and unforgettable works to date. Originally published in long out-of-print volumes, these tales have not appeared in any form this century – until now. They show a writer boldly engaging with disturbing truths and terrifying possibilities, and deconstructing the tropes and expectations of traditional prose writing as she does so. But beyond their stylistic ingenuity, these are creepy, suspenseful stories that cut straight to the bone; their darkness will linger long after the final page is turned. A must-read for long-time fans of Joyce Carol Oates and an excellent introduction for the uninitiated. Reviews for Joyce Carol Oates: 'Oates chillingly depicts the darkness lurking within the everyday.' Sunday Express 'Both haunting and sublime.' Literary Review 'Splendidly chilling.' Financial Times 'Visceral, psychologically involving, and socially astute.' Booklist

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In the 1970s, an age long before World Cups, rugby union to the British public meant Bill McLaren, rude songs and, most of all, Wales. Between 1969 and 1979, the men in red shirts won or shared eight Five Nations Championships, including three Grand Slams and six Triple Crowns. But the mere facts resonate less than the enduring images of the precision of Gareth Edwards, the sublime touch of Barry John, the sidesteps of Gerald Davies and Phil Bennett, the courage of J.P.R. Williams, and the forward power of the Pontypool Front Row and 'Merv the Swerve' Davies. To the land of their fathers, these Welsh heroes represented pride and conquest at a time when the decline of the province's traditional coal and steel industries was sending thousands to the dole queue and threatening the fabric of local communities. Yet the achievements of those players transcended their homeland and extended beyond mere rugby fans. With the help of comedian Max Boyce, the culture of Welsh rugby and valley life permeated Britain's living rooms at the height of prime time, reinforcing the sporting brilliance that lit up winter Saturday afternoons. In Nobody Beats Us, David Tossell, who spent the '70s as a schoolboy scrum-half trying to perfect the Gareth Edwards reverse pass, interviews many of the key figures of a golden age of Welsh rugby and vividly recreates an unforgettable sporting era.

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'One of the finest crime writers of any generation' Daily Mail'He's the high priest of plot ... deftly woven, but also beautifully written ... I loved it' Mel Giedroyc_______________________________Umiko Wada has recently had quite enough excitement in her life. With her husband recently murdered and a mother who seems to want her married again before his body is cold, she just wants to keep her head down.As a secretary to a private detective, her life is pleasingly uncomplicated, filled with coffee runs, diary management and paperwork.That is, until her boss takes on a new case. A case which turns out to be dangerous enough to get him killed. A case which means Wada will have to leave Japan for the first time and travel to London.Following the only lead she has, Wada quickly realises that being a detective isn't as easy as the television makes out. And that there's a reason why secrets stay buried for a long time. Because people want them to stay secret. And they're prepared to do very bad things to keep them that way...A pulse-pounding, breathless crime thriller, perfect for fans of Anthony Horowitz's Hawthorne series, Robert Galbraith's Cormoran Strike series and LJ Ross's Alexander Gregory thrillers.The new Umiko Wada novel from Robert Goddard, THE FINE ART OF UNCANNY PREDICTION, is available now._______________________________What readers are saying:'5 stars''Guaranteed and satisfying escapism''Edge-of-the-seat stuff''The master of twists and suspense... sublime'

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A collection of twenty-two disturbing tales of crime and suspense from literary icon Joyce Carol Oates, author of Blonde and 'America's preeminent fiction writer' (New Yorker). Two hitmen in a depressed rust belt town struggle with a job gone wrong. A girl witnesses a horrifying accident and carries it with her for the rest of her life. Medical students bring a severed foot to a college party. Five-time Pulitzer Prize finalist Joyce Carol Oates has made a career of exploring the forbidden corners of human experience, and the stories collected here, spanning her first three decades as a writer, are among her most unsettling and unforgettable works to date. Originally published in long out-of-print volumes, these tales have not appeared in any form this century – until now. They show a writer boldly engaging with disturbing truths and terrifying possibilities, and deconstructing the tropes and expectations of traditional prose writing as she does so. But beyond their stylistic ingenuity, these are creepy, suspenseful stories that cut straight to the bone; their darkness will linger long after the final page is turned. A must-read for long-time fans of Joyce Carol Oates and an excellent introduction for the uninitiated. Reviews for Joyce Carol Oates: 'Oates chillingly depicts the darkness lurking within the everyday.' Sunday Express 'Both haunting and sublime.' Literary Review 'Splendidly chilling.' Financial Times 'Visceral, psychologically involving, and socially astute.' Booklist

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What happens to poetic beauty when history turns the poet from one who contemplates natural beauty and the sublime to one who attempts to reconcile the practice of art with the hustle and noise of the city? An Atmospherics of the City traces Charles Baudelaire’s evolution from a writer who practices a form of fetishizing aesthetics in which poetry works to beautify the ordinary to one who perceives background noise and disorder—the city’s version of a transcendent atmosphere—as evidence of the malign work of a transcendent god of time, history, and ultimate destruction. Analyzing this shift, particularly as evidenced in Tableaux parisiens and Le Spleen de Paris, Ross Chambers shows how Baudelaire’s disenchantment with the politics of his day and the coincident rise of overpopulation, poverty, and Haussmann’s modernization of Paris influenced the poet’s work to conceive a poetry of allegory, one with the power to alert and disalienate its otherwise inattentive reader whose senses have long been dulled by the din of his environment. Providing a completely new and original understanding of both Baudelaire’s ethics and his aesthetics, Chambers reveals how the shift from themes of the supernatural in Baudelaire to ones of alienation allowed a new way for him to articulate and for his fellow Parisians to comprehend the rapidly changing conditions of the city and, in the process, to invent a “modern beauty” from the realm of suffering and the abject as they embodied forms of urban experience.

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A stunning YA romantasy inspired by Greek mythology by the acclaimed author of The Fandom duology. 'Gorgeous and deeply heartfelt' BEA FITZGERALD 'This book has it all' ALEXANDRA CHRISTO 'A triumph of a book' ANN SEI LIN In the citadel of Appollis, the Gods bestow single gifts on a chosen few. Icari has always known she's a Healer, while her twin sister, Sephie, is cast as an Embalmer, despite showing early promise as an Alchemist - a secret the sisters keep to themselves for possessing two skills is punishable by death. While Sephie learns how to wrap the dead, Icari eases the suffering of others, including a charismatic enemy prisoner called Caszeil. And it's to Caszeil that Icari turns when demons rise up from the Underworld and kidnap her sister. With his help, perhaps she can rescue Sephie. Even if this means growing wings - and flying in the face of the devil himself . . . A thrilling YA fantasy adventure romance inspired by Greek mythology From the acclaimed author of The Fandom duology (as Anna Day) A tale of love, sisterhood, magic and the triumph of life and truth over death Set in a gorgeous desert world of Oases and citadels MORE PRAISE FOR THE GIRL WHO GREW WINGS: 'I was completely swept away' KATHERINE CORR 'Captured my heart from the start and never let go' BEX HOGAN 'Clever, angry, ferociously feminist' LAURA WOOD 'Sublime, evocative, and full of twists and turns' NATALI SIMMONDS 'Kept me guessing throughout' BEN OLIVER

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‘Brilliant . . . These stories are sly and prescient, a nuanced reflection of the world we are living in.’ – Roxane Gay‘Evans is blessed with perfect pitch.’ – Tayari Jones‘Sublime short stories of race, grief, and belonging . . . an extraordinary new collection.’ New YorkerDanielle Evans is widely acclaimed for her blisteringly smart voice and X-ray insights into complex human relationships. With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters’ lives in a way that allows them to speak to larger issues of race, culture, and history.We meet Black and multi-racial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief – all while exploring how history haunts us, personally and collectively. Ultimately, she provokes us to think about the truths of American history – about who gets to tell them, and the cost of setting the record straight.In ‘Boys Go to Jupiter’ a white college student tries to reinvent herself after a photo of her in a Confederate-flag bikini goes viral. In ‘Richard of York Gave Battle in Vain’ a photojournalist is forced to confront her own losses while attending an old friend’s unexpectedly dramatic wedding. And in the eye-opening title novella, a Black scholar from Washington DC is drawn into a complex historical mystery that spans generations and puts her job, her love life, and her oldest friendship at risk.

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In this study of modernist aesthetics, Beryl Schlossman reveals how for such writers as Marcel Proust, Gustave Flaubert, and Charles Baudelaire, the Orient came to symbolize the highest aspirations of literary representation. She demonstrates that through allegory, modernism became a style itself, a style that married the ancient and the modern and that emerged as both a cause and an effect, both an ideal construct and an textual materiality, all symbolized by the Orient—land of style, place of plurality, and site of the coexistence of holy lands.Toward the end of Remembrance of Things Past, the narrator describes the act of creating a work of art as a conversion of sensation into a spiritual equivalent. By means of such allegories of “conversion,” Schlossman shows, the modernist artist disappeared within the work of art and left behind the trace of his sublime vocation, a vocation in which he was transformed, in Schlossman’s words, “into a kind of priest kneeling at the altar of beauty before the masked divinity of representation.”The author shows how allegory—the representation of the symbolic as something real—was adapted by modernist writers to reflect subjectivity while masking an authorial origin. She reveals how modernist allegory arose, as Walter Benjamin suggests, at the crossroads of history, sociology, economics, urban architecture, and art—providing a kind of map of capitalism—and was produced through the eyes of a melancholic gazing at a “monument of absence.”

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In The Extravagant Robert Baker explores the interplay between poetry and philosophy in the modern period, engaging a broad range of writers: Kant, Wordsworth, and Lyotard in a chapter on the sublime; Rimbaud, Nietzsche, and Bataille in a chapter on visionary quest; and Kierkegaard, Dickinson, Mallarmé, and Derrida in a chapter on apocalyptic negativity. His guiding concern is to illuminate adventures of “extravagant” or “wandering” language that, from the romantic period on, both poets and philosophers have undertaken in opposition to the dominant social and discursive frames of a pervasively instrumentalized world. The larger interpretative narrative shaping the book is that a dialectic of instrumental reason and creative negativity has been at work throughout modern culture. Baker argues that adventures of exploratory wandering emerge in the romantic period as displaced articulations of older religious discourses. Given the dominant trends of the modern world, however, these adventures repeatedly lead to severe collisions and crises, in response to which they are later revised or further displaced. Over time, as instrumental structures come to disfigure every realm of modern life, poetries and philosophies at odds with these structures are forced to criticize and surpass earlier voices in their traditions that seem to have lost a transformative power. Thus, Baker argues, these adventures gradually unfold into various discourses of the negative prominent in contemporary culture: discourses of decentering, dispersing, undoing, and erring. It is this dialectic that Baker traces and interprets in this ambitious study.

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The folklore of Scotland has gripped the imagination for centuries, with its stories of sublime creatures, high adventures and uncanny spirits of all kinds. The human and fairy realms of Scotland’s mythical heritage blur seamlessly together: knights and clan leaders clash swords in the same lands where brownies and bogles romp; and simple farmers and fishermen frequently cross paths with the enchanting and formidable ‘fair folk’ of both land and sea. Long has been the exchange of culture between Scotland and Ireland, leading to some familiar characters cropping up in both countries’ mythologies. Nonetheless, Scotland’s folklore adds its own flavour to the telling of some well-known Gaelic tales, as well as a variety of stories that are uniquely Scottish. From legends of siege, chivalry and courage like ‘Conall Cra Bhuidhe’ and ‘Black Agnes’, to whimsical yarns such as ‘The Fairies of Merlin’s Crag’; from the frightening stories of ‘The Haunted Ships’ and ‘The Ghosts of Craig-Aulnaic’, to tales of animals such as ‘The Brown Bear of the Green Glen’ – this gorgeous collection of folk and fairy tales captures the essence of Scotland’s ancient and vibrant folkloric tradition. 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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'Tender, beautiful and bold. A very special novel.' LIZZIE HUXLEY-JONES, author of Make You Mine This Christmas'Fun, fresh and clever . . . a huge treat for all fans of Jane Eyre.' KATIE LUMSDEN, author of The Secrets of Hartwood Hall'A sublime and tenderly written novel.' BEA FITZGERALD, author of Girl, Goddess, QueenAll Brontë Ellis has ever known is life at St. Mary's all-boys boarding school, where he lingered first as a student and then as a teaching assistant. So when a chance to forge a new life in Cambridge presents itself, he seizes it with both hands. Arriving at Greenwood Manor as the new live-in tutor, Bron finds himself welcomed by all - the gregarious Mr Edwards, his precocious pupil Ada . . . except for Darcy, the elusive and tempestuous eldest son. Despite the rumours about him, Bron cannot help feeling drawn to the one person who seems determined to avoid him.When tragedy strikes the house, Bron begins to sense dark secrets smouldering beneath Greenwood Manor's surface. Soon he's not sure what to believe, or whether he even has a future at Greenwood. Only Darcy holds the key, if he can be persuaded to reveal his heart to Bron . . .'A love letter to the period drama, and one I could not put down.' WILLIAM HUSSEY, author of Broken Hearts and Zombie Parts'Clever and beautifully written, I loved this.' EMMA CARROLL, author of The Week at World's End

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A superbly insightful and moving exploration of Wagner's last opera, by one of Britain's leading intellectuals Wagner's last music-drama tells the story of Parsifal, the 'pure fool, knowing through compassion', who has been called to rescue the Kingdom of the Grail from the sins that have polluted it. The Grail is a symbol of purity in a world of lust and power, but although Parsifal is the culmination of Wagner's life-long obsession with the religious frame of mind, the redemption sought by his characters is far from the Christian archetype. For Wagner, redemption occurs inthis life, when compassion prevails over enslavement, and purity replaces spiritual pollution. His music here ties together suffering and contrition, sin and forgiveness, downfall and redemption in an inextricable knot, healing the fractures and uniting the warring elements in human life in a way that is clear, convincing and uncanny. More than any other of his works, Parsifal expresses in music a depth of feeling for which we do not have words.This short but penetrating book, by a writer who was uniquely both a leading philosopher and musicologist, shows us how Wagner achieves this profound work, explaining the story, its musical ideas, and their coming together into a sublime whole which gives us the musical equivalent of forgiveness and closure. There are few writers who can so enhance our understanding of one of the greatest works in western music.

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'The Bodhisattva ideal is a vast subject. It is the major distinctive emphasis of the phase of the development of Buddhism known as the Mahāyāna, which had its flowering for a period of around 500 years (0–500CE), but is still practised today in many different forms, from Tibetan Buddhism to Zen. To consider this topic is to place one’s hand on the very heart of Buddhism, and feel the beating of that heart.' Thus Sangharakshita introduces his theme. The first part of this volume describes the arising of the bodhicitta and the bodhisattva's path to Enlightenment in a weaving together of the sublime and the inspiringly practical, and the second part is a commentary on Śāntideva's classic 8th-century text, the Bodhicaryāvatara, based on a seminar given in 1973, in the very early days of Triratna, thus shaping the newly emerging Buddhist movement. The seminar was titled The Endlessly Fascinating Cry, echoing Śāntideva's fervent prayer: 'In order to grasp this jewel of the mind, I offer ... the endlessly fascinating cry of wild geese ...' The volume ends with 'The Bodhisattva Principle', a talk given in 1983 to a conference of scientists and mystics in which Sangharakshita presents a vision of the bodhisattva as an embodiment of the key to the evolution of consciousness, individual and collective. The subject of this book may be an ideal, but it offers many ways to take the first real steps on this most significant of all journeys, and much nourishment for the heart and mind of the would-be bodhisattva.

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Daniel O'Quinn investigates the complex interpersonal, political, and aesthetic relationships between Europeans and Ottomans in the long eighteenth century. Bookmarking his analysis with the conflict leading to the 1699 Treaty of Karlowitz on one end and the 1815 bid for Greek independence on the other, he follows the fortunes of notable British, Dutch, and French diplomats to the Sublime Porte of the Ottoman Empire as they lived and worked according to the capitulations surrendered to the Sultan. Closely reading a mixed archive of drawings, maps, letters, dispatches, memoirs, travel narratives, engraved books, paintings, poems, and architecture, O'Quinn demonstrates the extent to which the Ottoman state was not only the subject of historical curiosity in Europe but also a key foil against which Western theories of governance were articulated. Juxtaposing narrative accounts of diplomatic life in Constantinople, such as those contained in the letters of Lady Mary Wortley Montagu, wife of the English ambassador, with visual depictions such as those of the costumes of the Ottoman elite produced by the French-Flemish painter Jean Baptiste Vanmour, he traces the dissemination of European representations and interpretations of the Ottoman Empire throughout eighteenth-century material culture. In a series of eight interlocking chapters, O'Quinn presents sustained and detailed case studies of particular objects, personalities, and historical contexts, framing intercultural encounters between East and West through a set of key concerns: translation, mediation, sociability, and hospitality. Richly illustrated and provocatively argued, Engaging the Ottoman Empire demonstrates that study of the Ottoman world is vital to understanding European modernity.

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Indonesian court dance, a purportedly pure and untouched tradition, is famed throughout the world for its sublime calm and stillness. Yet this unyieldingly peaceful surface conceals a time of political repression and mass killing. Between 1965 and 1966, some one million Indonesians—including a large percentage of the country’s musicians, artists, and dancers—were killed, arrested, or disappeared as Suharto established a virtual dictatorship that ruled for the next thirty years. In The Dance That Makes You Vanish, an examination of the relationship between female dancers and the Indonesian state since 1965, Rachmi Diyah Larasati elucidates the Suharto regime’s dual-edged strategy: persecuting and killing performers perceived as communist or left leaning while simultaneously producing and deploying “replicas”—new bodies trained to standardize and unify the “unruly” movements and voices of those vanished—as idealized representatives of Indonesia’s cultural elegance and composure in bowing to autocratic rule. Analyzing this history, Larasati shows how the Suharto regime’s obsessive attempts to control and harness Indonesian dance for its own political ends have functioned as both smoke screen and smoke signal, inadvertently drawing attention to the site of state violence and criminality by constantly pointing out the “perfection” of the mask that covers it.Reflecting on her own experiences as an Indonesian national troupe dancer from a family of persecuted female dancers and activists, Larasati brings to life a powerful, multifaceted investigation of the pervasive use of culture as a vehicle for state repression and the global mass-marketing of national identity.

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At his death in 1992, the eminent philosopher, critic, and theorist Louis Marin left, in addition to a dozen influential books (including Sublime Poussin, Stanford, 1999), a corpus of some three hundred articles and essays published in journals and anthologies. A collection of twenty-two essays that appeared between 1971 and 1992, this book interrogates the theory and practice of representation as it is carried out by both linguistic and graphic signs, and thus the complex relation between language and image, between perception and conception. The essays are grouped in four parts that reflect the continuity and coherence of Marin's interests in semiology, narrative, visuality, and painting. The interdisciplinary horizon of the book draws on multiple scholarly resources—the cultural history of the seventeenth century, the philosophy of language, the tools of discourse analysis, the history of art and aesthetics, the analysis of reception—to address a stunning diversity of subjects ranging from historical painting through cartography to the processes of deciphering texts, interpreting stories, and reading images. Throughout the essays, Marin's reflection on representation is supported and deepened by his brilliant exegesis of graphic art. His analysis of works by Caravaggio, Philippe de Champaigne, Le Brun, and Poussin, among others, provides the armature that allows him to describe both the structural logic of representation and the intricate processes of production and reception that make it dynamic and unstable. Marin demonstrates with consummate rigor why the pursuit of a general theory of representation is experienced by artists and critics alike as an inevitable, yet unattainable objective.

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"All we do, mija, is love. Love is the answer. Nothing stops it. Not borders. Not death."In his final days, beloved and ailing patriarch Miguel Angel de La Cruz, affectionately called Big Angel, has summoned his entire clan for one last legendary birthday party. But as the party approaches, his mother, nearly one hundred, dies herself, leading to a farewell doubleheader in a single weekend. Among the guests is Big Angel's half brother, known as Little Angel, who must reckon with the truth that although he shares a father with his siblings, he has not, as a half gringo, shared a life.Across two bittersweet days in their San Diego neighborhood, the revelers mingle among the palm trees and cacti, celebrating the lives of Big Angel and his mother, and recounting the many inspiring tales that have passed into family lore, the acts both ordinary and heroic that brought these citizens to a fraught and sublime country and allowed them to flourish in the land they have come to call home.The story of the de La Cruzes is the quintessential American story. This indelible portrait of a complex family reminds us of what it means to be the first generation and to live two lives across one border. It takes us into a world we have not known, while reflecting back the hopes and dreams of our own families. Teeming with brilliance and humor, authentic at every turn, The House of Broken Angels is Luis Alberto Urrea at his best, and cements his reputation as a storyteller of the first rank.

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Our most revered critic returns to his signature theme "Literary criticism, as I attempt to practice it," writes Harold Bloom in The Anatomy of Influence, "is in the first place literary, that is to say, personal and passionate."For more than half a century, Bloom has shared his profound knowledge of the written word with students and readers. In this, his most comprehensive and accessible study of influence, Bloom leads us through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years. The result is "a critical self-portrait," a sustained meditation on a life lived with and through the great works of the Western canon: Why has influence been my lifelong obsessive concern? Why have certain writers found me and not others? What is the end of a literary life?Featuring extended analyses of Bloom's most cherished poets—Shakespeare, Whitman, and Crane—as well as inspired appreciations of Emerson, Tennyson, Browning, Yeats, Ashbery, and others, The Anatomy of Influence adapts Bloom's classic work The Anxiety of Influence to show us what great literature is, how it comes to be, and why it matters. Each chapter maps startling new literary connections that suddenly seem inevitable once Bloom has shown us how to listen and to read. A fierce and intimate appreciation of the art of literature on a scale that the author will not again attempt, TheAnatomy of Influence follows the sublime works it studies, inspiring the reader with a sense of something ever more about to be.

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In this groundbreaking comparative study, Matthew Bagger investigates the role of paradox in Western and Asian religious discourse. Drawing on both philosophy and social scientific theory, he offers a naturalistic explanation of religion's oft-noted propensity to sublime paradox and argues that religious thinkers employ intractable paradoxes as the basis for various techniques of self-transformation. Considering the writings of Kierkegaard, Pseudo-Dionysus, St. John of the Cross, N?g?rjuna, and Chuang-tzu, among others, Bagger identifies two religious uses of paradox: cognitive asceticism, which wields the psychological discomfort of paradox as an instrument of self-transformation, and mysticism, which seeks to transform the self through an alleged extraordinary cognition that ineffably comprehends paradox. Bagger contrasts these techniques of self-transformation with skepticism, which cultivates the appearance of contradiction in order to divest a person of beliefs altogether. Bagger further contends that a thinker's social attitudes determine his or her response to paradox. Attitudes concerning crossing the boundary of a social group prefigure attitudes concerning supposed truths that lie beyond the boundaries of understanding. Individuals who fear crossing the boundary of their social group and would prohibit them tend to use paradox ascetically, while individuals who find the controlled incorporation of outsiders enriching commonly find paradox revelatory. Although scholars have long noted that religious discourse seems to cultivate and perpetuate paradox, their scholarship tends to ratify religious attitudes toward paradox instead of explaining the unusual reaction paradox provokes. A vital contribution to discussions of mystical experience, The Uses of Paradox reveals how much this experience relies on social attitudes and cosmological speculation.

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“All this must be either surfed or painted”: This is the underlying sentiment behind Raymond Pettibon’s iconic paintings of surfers and waves in this quintessential volume dedicated to the motif. Pettibon is known for his characteristically youthful aesthetic and sharply satirical critique of American culture. Though drenched in cynicism, his work empathizes with the dizzying madness of our own humanity as it engages both so-called high and low culture. Perhaps most poetic of the many motifs present in Pettibon’s oeuvre is the surfer. In 1985 Pettibon began Surfers––a series he continues to work on to this day––popular for its depiction of the lone surfer silently carving “a line of beauty,” along an impossibly large wave. This publication traces a selection of one hundred surfers from the series, from smaller monochromatic works on paper to colorful large-scale paintings applied directly to the wall. For Pettibon’s protagonist in these works—his countercultural hero—surfing exists apart from all else. Momentarily he achieves sublimity on the wave, distant yet synced with turbulent reality. We are forced to confront our own scale: small and feeble in the face of so much sublime power. Pettibon’s lyrical writings on these painted surfaces—both his own and taken from literature—reference his own philosophies and the confusions of reality—he critiques the hypocrisies and vanities of the world he engages. To help navigate, the renowned New Yorker writer and Pulitzer Prize–winning author of Barbarian Days: A Surfing Life, William Finnegan, perfectly distills the transcendent nature and lack thereof in Pettibon’s work.

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Secrets! Magic! Enemies to . . . something more? Set in an alternative Edwardian England, A Power Unbound is the steamy, spellbinding conclusion to The Last Binding trilogy by Freya Marske.‘Sublime prose, top-notch world-building, delightfully queer’ – TJ Klune, bestselling author of Under the Whispering Door, on A Marvellous LightJack Alston – Lord Hawthorn – would love a nice, safe, comfortable life. He renounced magic after the death of his twin sister. But with the threat of a dangerous ritual risking every magician in Britain, he’s drawn reluctantly back into that world.Now Jack is living in a bizarre puzzle-box of a magical London townhouse, helping its owner Violet track down the final piece of the Last Contract before their enemies can do the same. And to make matters worse, they need the help of writer and thief Alan Ross. Cagey and argumentative, Alan is only in this for the money. He’s loud in his hatred of the aristocracy and their unearned power . . . and unfortunately, he happens to be everything that Jack wants in one gorgeous, infuriating package.When a plot to seize unimaginable magic power comes to a head on Jack’s own family estate, Jack, Alan and their allies will become entangled in a night of champagne, secrets and bloody sacrifice – and the foundations of magic in Britain might be torn up by the roots before the end.Filled with magic, murder and romance, A Power Unbound is the thrilling third book in The Last Binding trilogy by Freya Marske. Start the series with A Marvellous Light and A Restless Truth.

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From the author of New York Times bestseller, A Flicker in the Dark, comes a gripping and atmospheric new thriller about one woman’s search for the truth From the author of New York Times bestseller, A Flicker in the Dark, comes a gripping and atmospheric new thriller about one woman’s search for the truth ‘Thriller fans will adore this read.’ Prima ‘Pacy and sinister.’ Karin Slaughter 'Brilliant! … I had to finish this marvelous thriller in one sitting!' Jeffery Deaver ‘A sensational thriller… Dark, engrossing and atmospheric… sublime tension. EXCELLENT’ Will Dean ‘Packed full of twists and turns … Stacy is a must-read author' Sarah Pearse Today is day 364. 364 days since my last night of sleep. 364 days since my son, Mason, was taken from his bed. The police have stopped looking. My husband wants me to move on. But I need to keep his story alive. Someone knows what happened to my son. And I’m going to find them. It’s been a year since Isabelle Drake’s son, Mason, disappeared from his bedroom. Since then, she hasn’t had a full night of sleep. Everyone else has moved on – the detectives, the press, her husband – but she can’t rest until she knows the truth. Teaming up with true crime podcaster Waylon Spencer, Isabelle investigates her son’s case. But Waylon has motives of his own and as long-forgotten memories of Isabelle’s past resurface, doubt begins to cloud her sleepless nights. What happened to Mason Drake? What if the past is better left buried?

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Perfect for fans of Naomi Novik, Robin Hobb and George R.R. MartinShe has no name and no history, but she has a power greater than the Empire has ever known. Thanks to her special gift Judah has enjoyed a privileged life, being raised alongside Gavin, the son and heir to Lord Elban's vast empire. But as they grow Judah comes to realise that while Gavin is being groomed for his future role, she has no true position, and no hope of ever travelling beyond the castle walls. Lord Elban has plans for Judah – for all of them – but to him, she's nothing but a pawn. And he will stop at nothing to get what he wants.But he's not the only one with plans. Outside the castle wall – in the starving, desperate city – is a healer with his own secret power and his own plans for the empire . . . and Judah.The girl who started life with no name and no history will soon uncover more to her story than she ever imagined. An epic tale of greed and ambition, cruelty and love, this deeply immersive novel is about bowing to traditions and burning them down. ___________What people are saying about The Unwilling: 'Fantasy at its most sublime' ERIN MORGENSTERN'An epic fantasy novel with ingenious, thrilling twists and turns' KELLY LINK'Brilliantly executed. The Unwilling is about sharing joy, and sensing fear and cruelty, and caring beyond ourselves' VANITY FAIR'Suspenseful: magical, wonderfully written and never predictable . . . An essential addition to the all epic fantasy collections' BOOKLIST

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'An electrifying, word-perfect tale… Gently devastating, devastatingly beautiful’ Daily Mail'Funny, piercing, and singular… I can’t fathom the reason why you wouldn’t rush straight out to buy it’ ObserverDetermined, rebellious Marianne Clifford is searching for love and freedom in 1960s LondonHow do you find the courage to make your own life?Marianne Clifford, teenage daughter of a peppery army colonel and his vain wife, falls helplessly and absolutely for eighteen-year-old Simon Hurst, whose cleverness and physical beauty suggest that he will go forward into a successful and monied future, helped on by doting parents. But fate intervenes. Simon's plans are blown off course, he leaves for Paris and Marianne is forced to bury her dreams of a future together.It is Marianne who tells this piercing story of first love, characterising herself as ignorant and unworthy, whilst her smart, ironic narration tellingly reveals so much more. Finding her way in 1960s Chelsea, and supported by her courageous Scottish friend, Petronella, she continues to seek the life she never stops craving. And in Paris, beneath his blithe exterior, Simon Hurst continues to nurse the secret which will alter everything.‘Tremain has always surprised and delighted her readers’ Sunday Times, Best 23 Novels of 2023** A THE TIMES BOOK OF THE YEAR 2023**READERS LOVE ABSOLUTELY AND FOREVER:'Heartrending, funny, unputdownable' 5*****'An undoubted modern classic' 5*****'Marianne will remain with me as a friend' 5*****'A masterclass in character and world building ... the writing is just sublime' 5*****

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This publication comprises the first monographic survey dedicated to artist Kevin Schmidt. Based in Vancouver, Schmidt is an interdisciplinary artist working across performance, video, photography and installation who has exhibited widely across North America and Europe. He is perhaps best known for performance expeditions and interventions into the natural world, which are documented in photographs, installations and videos, such as his eleven-and-a-half-hour Epic Journey, which documents a marathon nighttime screening of the Lord of the Rings trilogy in a small boat as it drifted down the Fraser River, or his Aurora with Roman Candle, which shows him firing roman candles at the Aurora Borealis.At a time when we might consider cultural production as being democratised through the Internet, Schmidt combines notions of the heroic with the seemingly amateur by using visible reminders of construction and theatrical devices-smoke machines, stage lights and DIY photographic equipment. Through this he proposes a utopian assertion of "the commons", where both land and culture are publicly accessible to all.Presented in partnership with Kamloops Art Gallery and Contemporary Art Gallery, Vancouver, this publication features essays by Charo Neville, Kathleen Ritter and an artist interview with Nigel Prince. The book charts Schmidt's ongoing body of work addressing the tensions between man and nature, performance and document and indoors and outdoors. These propositions are tackled through references to landscape, the invocation of the sublime at the point of apprehending such wild beauty, and by juxtaposing seemingly disparate elements within these environments. Works are often situated in remote locations, where Schmidt stages remarkable events that transfer elements of urban culture into untouched natural contexts. In this way, he simultaneously examines both the seductive elements of contemporary cultural production and the constructions that surround the idea of nature.

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This interdisciplinary book honors Columbia professor and New York intellectual Carl Woodring. Chapters on Romantic and Victorian literary culture written by leading scholars in the field join in conversation with Woodring’s teachings on literature and visual art and his commentaries on American culture. A multiple-authored chapter of postscripts on the aesthetic range of Woodring’s intellectual interests across cultural disciplines, his contributions to English studies and his informing influence on several generations of scholars, and their areas of interest, follows. A chapter from Woodring’s unpublished autobiography, on his childhood in small-town America, then concludes the volume with an ironic retrospection on intercultural origins. Topics addressed among the chapters include portraiture and self-fashioning, landscape art, physiognomy and caricatures, radical print ephemera, illustrated picaresque verse, social and political satire, traditions of the sublime in art and literature, transatlantic influences and aesthetics, chaos theory and the laws of thermodynamics, the Caribbean slave trade, revolutionary history, Napoleonic wars, the politics of multicultural communities, gender and race, marginalia and textual revelations, Native America, historical interchanges in curating museum shows, and contemporary American sculpture and art. Cultural figures of the nineteenth century that are featured in the discussions include Henry Adams, Beethoven, Blake, Byron, Willa Cather, Thomas Cole, Coleridge, James Fenimore Cooper, George Cruikshank, Ugo Foscolo, Washington Irving, Keats, Willibrord Mähler, George Romney, Rowlandson, Shelley, and Wordsworth. Chapter essays, commentaries, and Carl Woodring’s unpublished writings function together in Nature, Politics, and the Arts: Essays on Romantic Culture for Carl Woodring—with a depth of original perspectives and a multi-voiced and intercultural coherence. The book as a whole testifies to Woodring’s living and intellectually potent legacy for future students of nineteenth-century transatlantic culture and twenty-first century scholarship on literature and art.

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SHORTLISTED FOR THE WATERSTONES DEBUT FICTION PRIZE 2022 FINALIST FOR THE BARNES & NOBLE DISCOVER PRIZE 2022 FINALIST FOR THE URSULA LE GUIN PRIZE FOR FICTION 2022 WATERSTONES AND ESQUIRE BEST BOOKS OF 2022 ‘Haunting and luminous … An astonishing debut’ – Alan Moore, creator of Watchmen and V for Vendetta 'A powerfully moving and thought provoking read. At times sublime, strange and deeply human' Adrian Tchaikovsky, bestselling author of the Children of Time series Siberia, 2031. After a virus, unearthed from melting permafrost, unleashes a deadly plague upon humanity, those left alive are forced to adapt to a new world, and do so in myriad moving and inventive ways. Among those adjusting to this new normal are an aspiring comedian, employed by a theme park designed for terminally ill children, who falls in love with a mother trying desperately to keep her son alive; a scientist who, having failed to save his own son from the plague, gets a second chance at fatherhood when one of his test subjects — a pig — develops human speech; and a widowed painter and her teenage granddaughter who must set off on cosmic quest to locate a new home planet. A story of unshakeable hope that seamlessly crosses literary lines, How High We Go in the Dark follows a cast of intricately linked characters spanning hundreds of years as humankind endeavours to restore the delicate balance of the world. Wonderful and disquieting, dreamlike and all too possible. [How High We Go in the Dark] reaches far beyond our stars while its heart remains rooted to Earth, and reminds us that our wellbeing depends on the wellbeing of our world - Samantha Shannon, author of The Priory of the Orange Tree

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'Everything you would expect of a James Naughtie book - droll, absorbing and wonderfully perceptive.' Bill Bryson'A revealing and at times spellbinding tapestry of a nation...It is thought-provoking, constantly surprising and hugely entertaining. Sublime stuff.’ Michael Simkins, Mail on Sunday'An insightful account of living through momentous times...much to enjoy in Naughtie's astute memoir.' Martin Chilton, Independent James Naughtie, the acclaimed author and BBC broadcaster, now brings his unique and inquisitive eye to the country that has fascinated him and drawn him across the Atlantic for half a century. In looking at America, from Presidents Nixon through to Biden, he tells the story of a country that is grappling with a dream. What has it come to mean in the new century, and who do Americans now think they are? Drawing on his travels and encounters over forty years in the ‘Land of the Free’, On The Road is filled with anecdotes, memories, tears and laughter reflecting Naughtie’s characteristic warmth and enthusiasm in encountering the America of Washington, of Broadway, of the small town and the plains. As a student, Naughtie watched the fall of President Richard Nixon in 1974, and subsequently as a journalist followed the story of the country – its politicians, artists, wheeler-dealers and the people who make it what it is, in the New York melting pot or the western deserts. This is a story filled with encounters, for example with the people he has watched on every presidential campaign from the late 1970s to the victory of Joe Biden in 2020. This edition is fully updated to include Naughtie's fascinating insights on the controversial presidential election battle in 2020 between Donald Trump and Joe Biden.

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Luther and Calvin applied the term fanatic to those who sought to destroy civil society in order to establish the Kingdom of God, the "false prophets" and their followers who, early on in the Reformation, began smashing images in churches and rebelling against princes. Civil Society and Fanaticism is organized around this seminal moment of religious and political iconoclasm, an outburst of hatred against mediations and representation. The author shows that civil society and fanaticism have been consistently present as conjoined notions in Western political thought since the sixteenth century, underlining the link between two principles that are constitutive of that thought: dualism—between the City of God and the earthly city, between civil society and the state—and the validity of representation. In what is both a study of the evolution of the two interrelated concepts and a critique of critiques of representation, the author draws upon an impressive range of works, including texts by Aristotle and Baudelaire, the medieval theology of Giles of Rome and the humanist thought of the Reformer Philipp Melanchthon, the political philosophies of Spinoza, Leibniz, and Rousseau, Kant's reflections on the sublime, and Marx's critique of Hegel. At the same time, he discusses a varied group of fanatics or people stigmatized as such: the first Anabaptists, the Shiite sect of the Assassins, the French Protestant Camisards, the Bolsheviks. An original analysis of Lenin's political theory and practice sheds new light on the antagonism between totalitarianism and the law-governed state identified with civil society. The author's approach is multidisciplinary, proceeding at different moments from lexicographical, sociological, psychoanalytic, and philosophical methods and analysis. The book also makes vivid use of iconology by reproducing and interpreting a series of works by Albrecht Dürer, whose art and theory of representation, it is argued, were opposed to the destruction not only of images but of civil society.

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From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking. What unites and defines many of these wondrous spaces is an immersive view-an invitation to step inside the virtual world of the image and become a part of its universe, if only for a short time. Since their inception, museums of science and natural history have mixed education and entertainment, often to incredible, eye-opening effect. Immersive spaces of visual display and modes of exhibition send "shivers" down our spines, engaging the distinct cognitive and embodied mapping skills we bring to spectacular architecture and illusionistic media. They also force us to reconsider traditional models of film spectatorship in the context of a mobile and interactive spectator. Through a series of detailed historical case studies, Alison Griffiths masterfully explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising antecedents of modern media forms, suggesting the spectator's deep-seated desire to become immersed in a virtual world. Shivers Down Your Spine demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives have redefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more.

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Our breath catches and we jump in fear at the sight of a snake. We pause and marvel at the sublime beauty of a sunrise. These reactions are no accident; in fact, many of our human responses to nature are steeped in our deep evolutionary past - we fear snakes because of the danger of venom or constriction, and we welcome the assurances of the sunrise as the predatory dangers of the dark night disappear. Many of our aesthetic preferences - from the kinds of gardens we build to the foods we enjoy and the entertainment we seek - are the lingering result of natural selection. In this ambitious and unusual work, evolutionary biologist Gordon H. Orians explores the role of evolution in human responses to the environment, beginning with why we have emotions and ending with evolutionary approaches to aesthetics. Orians reveals how our emotional lives today are shaped by decisions our ancestors made centuries ago on African savannas. During this time our likes and dislikes became wired in our brains, as the appropriate responses to the environment meant the difference between survival or death. His rich analysis explains why we mimic the tropical savannas of our ancestors in our parks and gardens, why we are simultaneously attracted to danger and approach it cautiously, and how paying close attention to nature's sounds has resulted in us being an unusually musical species. We also learn why we have developed discriminating palates for wine, why we have strong reactions to some odors, and why we enjoy classifying almost everything. By applying biological perspectives ranging from Darwin to current neuroscience to analyses of our aesthetic preferences for landscapes, sounds, smells, plants, and animals, Snakes, Sunrises, and Shakespeare transforms how we view our experience of the natural world and how we relate to each other.

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'A magical, fairy-filled read with a twisty plot and main character you'll adore' A.F. Steadman, author of the internationally bestselling Skandar and the Unicorn ThiefFairies are real, but their power is waning . . . Embark on the adventure of a lifetime and discover the magic of Goblyn Wood, with the first book in a major new fantasy series for fans of Nevermoor and Podkin One-Ear! Are you ready to enter Goblyn Wood . . . ?Hazel has always known she was different, but she doesn’t know where she came from. When her best friend Pete is kidnapped by strange creatures, she must gather her courage and enter Goblyn Wood, a forest inhabited by fairies. But their magic is being drained away, and Hazel soon realises that her own power is the key to saving both Pete and her new friends. Embarking on an epic journey of discovery, can Hazel restore the balance of the fairy realm?From Waterstones prize-shortlisted Anna Kemp – enter this rich and immersive new fantasy world and meet a powerful new hero.Praise for Into Goblyn Wood: 'A fabulously rich adventure into a magical landscape, with that most important theme of all: believing in ourselves and the potential we hold.' Sarah Lean, author of the bestselling The Last Bear 'An absolutely sparkling adventure. The perfect book to curl up with as we're stepping into autumn' Alex Foulkes, author of Rules for Vampires 'A beautiful story, beautifully told. Into Goblyn Wood gives readers a wonderful world to lose themselves inside, and to keep daydreaming about for a long time afterwards!' Sylvia Bishop, author of The Bookshop Girl 'Anna Kemp’s world building is sublime . . . It’s unpredictable, perfectly paced and totally gripping... This is a truly brilliant book - fantasy at its finest. I could not put it down and cannot wait to read the next book in the series' Netgalley reviewer

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A definitive new edition of one of the greatest philosophical poems in the English languageVoltaire called it "the most sublime didactic poem ever written in any language." Rousseau rhapsodized about its intellectual consolations. Kant recited long passages of it from memory during his lectures. And Adam Smith and David Hume drew inspiration from it in their writings. This was Alexander Pope's Essay on Man (1733–34), a masterpiece of philosophical poetry, one of the most important and controversial works of the Enlightenment, and one of the most widely read, imitated, and discussed poems of eighteenth-century Europe and America. This volume, which presents the first major new edition of the poem in more than fifty years, introduces this essential work to a new generation of readers, recapturing the excitement and illuminating the debates it provoked from the moment of its publication.Echoing Milton's purpose in Paradise Lost, Pope says his aim in An Essay on Man is to "vindicate the ways of God to man"—to explain the existence of evil and explore man's place in the universe. In a comprehensive introduction, Tom Jones describes the poem as an investigation of the fundamental question of how people should behave in a world they experience as chaotic, but which they suspect to be orderly from some higher point of view. The introduction provides a thorough discussion of the poem's attitudes, themes, composition, context, and reception, and reassesses the work's place in history. Extensive annotations to the text explain references and allusions.The result is the most accessible, informative, and reader-friendly edition of the poem in decades and an invaluable book for students and scholars of eighteenth-century literature and thought.

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Set your taste-buds on fire as you embark on a thrilling gastronomic rollercoaster ride that takes you from the pulsating dark heart of Dark Mofos spectacular Winter Feast, to the midnight banquets, seductive supper clubs and dark dinners unearthed in the Dark Fringe, created in honour of Tasmanias iconic festival of darkness. Learn how to master the flames with Monas Heavy Metal Kitchen and appease your inner glutton with a smorgasbord of sublime fire cooked dishes, before descending into Dantes Inferno to resurrect your corpses with a cornucopia of cocktails created by some of Tasmanias most celebrated distilleries and bars. Brimming full of stunning dark and moody images, this spectacular 596-page ode to the Southern Hemisphere Winter and Winter Solstice, contains more than 180 delicious recipes, most of which have been especially recreated for this cookbook including from Monas Heavy Metal Kitchen, inspired chef collaborations from the Dark Mofo Winter Feast and other feasts of darkness. Sinners can also find tips on how to make the perfect cocktail, what to forage for, and when and what to grow for their Winter Table, as well as some suggestions of how to use their Winter produce. Winter Wild also celebrates some of the worlds most ancient Winter Solstice sites, ceremonies and rituals, as well as exploring what different cultures eat at this auspicious time. Divinely, Winter Wild also contains two deliciously dark tales shared by professional storyteller Martin Maudsley from Dorset, who at the Huon Valley + Willie Smiths Mid-Winter Fest in Tasmania, held the enraptured audiences in the palm of his hands. Are you ready? Snuggle up by a roaring fire and pour yourself a hot whisky toddy - Winter has never been cooler!

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From the author of the BBC 2 Between the Covers hit, The Fine Art of Invisible Detection'The world's greatest storyteller' Guardian'One of the finest crime writers of any generation' Daily Mail'Our finest practitioner of the double-cross plotting' Mick Herron______________________________________Umiko Wada never set out to be a private detective, let alone become the one-woman operation behind the Kodaka Detective Agency. But so it has turned out, thanks to the death of her former boss, Kazuto Kodaka, in mysterious circumstances.Keen to avoid a similar fate, Wada chooses the cases she takes very carefully. A businessman who wants her to track down his estranged son offers what appears to be a straightforward assignment. Soon she finds herself pulled into a labyrinthine conspiracy with links to a twenty-seven-year-old investigation by her late employer and to the chaos and trauma of the dying days of the Second World War.As Wada uncovers a dizzying web of connections between then and now, it becomes clear that someone has gone to extraordinary lengths to keep the past buried. Soon those she loves most will be sucked into the orbit of one of the most powerful men in Tokyo. And he will do whatever it takes to hold on to his power...The Fine Art of Uncanny Prediction is another tour de force from the cunning mind of master storyteller Robert Goddard. Spanning seventy years, it takes the reader on a head-spinning journey of twist and counter-twist which keep you guessing until the final pages.__________________________________Readers love the Umiko Wada series:***** 'Guaranteed and satisfying escapism'***** 'Twists and turns right up to the last page'***** 'Edge-of-the-seat stuff'***** 'Fresh and inventive'***** 'The master of twists and suspense ... sublime'***** 'Scintillating and wickedly twisty'

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What if your work rival was the ex that you’d never actually broken up with? ‘Sizzling’ SOPHIE IRWIN‘Witty’ BETH REEKLES‘Excellent’ JANE CASEY‘Pitch-perfect’ EMMA HUGHES How do you get rid of an ex . . . When you’ve never actually broken up? When arrogant new colleague Benjamin swans into Fia’s small office at her New York law firm, it’s no secret they dislike – no, hate – each other. But there is one secret no one knows. The last time Fia and Benjamin saw each other was one summer night nearly ten years ago, at a little chapel – in Vegas. Benjamin isn’t just Fia’s co-worker, he’s also her long-lost husband. They made a promise – they even signed a pact – that they’d divorce after one year. But they never did. Now, if anyone discovers they’re husband and wife, both their jobs are on the line. And as their marriage starts to finally heat up, it’s a secret that’s getting harder to keep . . . EVERYONE LOVES THE BREAK-UP CLAUSE ‘I REALLY loved . . . so clever, so good, really excellent characters’ JANE CASEY ‘Electric right from the off…a witty, wonderful book with such a wholesome take on friendships and a sizzling romance’ BETH REEKLES ’Hargan has a light touch and a winning sense of humour’ THE TIMES ‘Reminds me of Katherine Heiny . . . her crisp scene-setting wit, her pitch-perfect ear for dialogue and her wonderful, wry eye . . . make every page a pleasure to read’ EMMA HUGHES ‘An absolute first class rom-com: smart, funny and sizzling with chemistry’ SOPHIE IRWIN ‘Joyous, funny and very sweet, this is one to savour’ STYLIST ‘One of the very best romcom writers around. It is sublime . . . chemistry/sizzle/snark is off the charts’ CRESSIDA MCLAUGHLIN

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