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Gritty Fantasy Adventure Novelette! A Death Speaker priest and a sullen deserter of a defeated army search for a missing boy gifted with foresight – a boy who knows when the last day will come. But Finch Crushluck is no Death Speaker. He's a street con and beggar, posing as a dark priest to sell lies to fools desperate to learn their fate in the coming apocalypse. To pull off his greatest scam and save his neck from his mad companion's blade, he needs to make the dead talk and the boy reveal his secret. If he can do this and survive the pursuit of vengeful barbarians and the specters of Mist Dwarfs, he just might live long enough to see the end of the world.
The first of his peerless novels of Cold War espionage and international intrigue, Call for the Dead is also the debut of John le Carré's masterful creation George Smiley. "Go back to Whitehall and look for more spies on your drawing boards." George Smiley is no one's idea of a spy—which is perhaps why he's such a natural. But Smiley apparently made a mistake. After a routine security interview, he concluded that the affable Samuel Fennan had nothing to hide. Why, then, did the man from the Foreign Office shoot himself in the head only hours later? Or did he? The heart-stopping tale of intrigue that launched both novelist and spy, Call for the Dead is an essential introduction to le Carré's chillingly amoral universe.
Digte. Addresses race, class, sexuality, faith, social justice, mortality, and the challenges of living HIV positive at the intersection of black and queer identity
An incessantly ringing cell phone in a quiet caf. A stranger at the next table who has had enough. And a dead man - with a lot of loose ends. So begins Dead Man's Cell Phone, a wildly imaginative new comedy by playwright Sarah Ruhl, recipient of a MacArthur ''Genius'' Grant and Pulitzer Prize finalist for her play The Clean House. A work about how we memorialize the dead - and how that remembering changes us - it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world. Sarah Ruhl's plays have been produced at theaters around the country, including Lincoln Center Theater, the Goodman Theatre, Arena Stage, South Coast Repertory, Yale Repertory Theatre, Berkeley Repertory Theatre, among others, and internationally. She is the recipient of the Susan Smith Blackburn Prize (for The Clean House, 2004), the Helen Merrill Emerging Playwrights Award, and the Whiting Writers' Award. The Clean House was a Pulitzer Prize finalist in 2005. She is a member of 13P and New Dramatists.
Bullshit isn’t what it used to be. Now, two science professors give us the tools to dismantle misinformation and think clearly in a world of fake news and bad data. “A modern classic . . . a straight-talking survival guide to the mean streets of a dying democracy and a global pandemic.”—Wired Misinformation, disinformation, and fake news abound and it’s increasingly difficult to know what’s true. Our media environment has become hyperpartisan. Science is conducted by press release. Startup culture elevates bullshit to high art. We are fairly well equipped to spot the sort of old-school bullshit that is based in fancy rhetoric and weasel words, but most of us don’t feel qualified to challenge the avalanche of new-school bullshit presented in the language of math, science, or statistics. In Calling Bullshit, Professors Carl Bergstrom and Jevin West give us a set of powerful tools to cut through the most intimidating data. You don’t need a lot of technical expertise to call out problems with data. Are the numbers or results too good or too dramatic to be true? Is the claim comparing like with like? Is it confirming your personal bias? Drawing on a deep well of expertise in statistics and computational biology, Bergstrom and West exuberantly unpack examples of selection bias and muddled data visualization, distinguish between correlation and causation, and examine the susceptibility of science to modern bullshit. We have always needed people who call bullshit when necessary, whether within a circle of friends, a community of scholars, or the citizenry of a nation. Now that bullshit has evolved, we need to relearn the art of skepticism.
In her second collection, Brenner, whose Large Animals in Everyday Life won the Flannery O'Connor Award, showcases her ability to conjure up bizarre situations and circumstances in the lives of ordinary people. A scientist learns to enjoy human relationships while compiling an encyclopedia of anomalies, while a high school student grosses out friends with her uncle's nipple, which she claims to have in an envelope. A father who mourns his son believes it's possible to communicate with him via tape recorder; four squirrels, tied together for a long time, are separated by a vet so they can live separately; and a very perceptive boy has a relationship with an unborn friend. Brenner is a gifted chronicler of these often poor and downtrodden characters, whose lives are marked by the oddity of the everyday world around them.
When telemarketer Helen Hawthorne overhears an argument followed by a scream one night while conducting a phone survey, she chases clues and tries to avoid the killer.
When a woman's body is found in the sea at Blakeney Point with a single blow to the head, DI Tom Janssen and his team must work out who wanted her dead and why?