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In Lynch’s fourth collection, we carefully navigate the fine line between terror and beauty as we face palpable trauma, heartbreak, and wild astonishment through the raw and personal poems. The genuine, delicate voice works to examine who we are, after everything.
In 1558 while imprisoned in a remote castle, a young girl becomes involved in a series of events that leads to an underground labyrinth peopled by the last practitioners of druidic magic.
A gripping tale of fear, longing and determination as one woman tries to survive the world of those who also kidnapped her sister. In The Perilous Road to Her, N.L Blandford takes us on a woman’s harrowing journey to find her missing sister. Olivia Beaumont, a Detective in the Toronto Police Service, finds herself dreading calls from her older sister Claire. Olivia’s attempts to help Claire fight her drug addiction have only been met with refusals. Ready to walk away, and let Claire hit ‘rock bottom’, Olivia is drawn back when she learns Claire is missing. Determined to find Claire, Olivia goes on the hunt for those who have taken her. However, the perpetrators have other plans. Suddenly, Olivia feels the prick of a needle in her neck and her world goes black. When she wakes up she has been transported into the underworld of human trafficking. Greed and sex surround her as she is forced to work for the monsters who have built an empire on the desperate and unlucky.
Americans of all political persuasions fear that “free speech” is under attack. This may seem strange at a time when legal protections for free expression remain strong and overt government censorship minimal. Yet a range of political, economic, social, and technological developments have raised profound challenges for how we manage speech. New threats to political discourse are mounting—from the rise of authoritarian populism and national security secrecy to the decline of print journalism and public trust in experts to the “fake news,” trolling, and increasingly subtle modes of surveillance made possible by digital technologies. The Perilous Public Square brings together leading thinkers to identify and investigate today’s multifaceted threats to free expression. They go beyond the campus and the courthouse to pinpoint key structural changes in the means of mass communication and forms of global capitalism. Beginning with Tim Wu’s inquiry into whether the First Amendment is obsolete, Matthew Connelly, Jack Goldsmith, Kate Klonick, Frederick Schauer, Olivier Sylvain, and Heather Whitney explore ways to address these dangers and preserve the essential features of a healthy democracy. Their conversations with other leading thinkers, including Danielle Keats Citron, Jelani Cobb, Frank Pasquale, Geoffrey R. Stone, Rebecca Tushnet, and Kirsten Weld, cross the disciplinary boundaries of First Amendment law, internet law, media policy, journalism, legal history, and legal theory, offering fresh perspectives on fortifying the speech system and reinvigorating the public square.
Rumi: The Book of Love is a collection of astonishing poems for lovers from the mystic Rumi, by the translator who made him sing anew, Coleman Barks. Poetry and Rumi fans will want to own this gorgeously packaged compilation of love poems by the thirteenth-century Sufi mystic. Rumi is best known and most cherished as the poet of love in all its forms, and renowned poet and Rumi interpretor Coleman Barks has gathered the best of these poems in delightful and wise renderings that will open your heart and soul to the lover inside and out.
Pervasive violence against hospitals, patients, doctors, and other health workers has become a horrifically common feature of modern war. These relentless attacks destroy lives and the capacity of health systems to tend to those in need. Inaction to stop this violence undermines long-standing values and laws designed to ensure that sick and wounded people receive care. Leonard Rubenstein—a human rights lawyer who has investigated atrocities against health workers around the world—offers a gripping and powerful account of the dangers health workers face during conflict and the legal, political, and moral struggle to protect them. In a dozen case studies, he shares the stories of people who have been attacked while seeking to serve patients under dire circumstances including health workers hiding from soldiers in the forests of eastern Myanmar as they seek to serve oppressed ethnic communities, surgeons in Syria operating as their hospitals are bombed, and Afghan hospital staff attacked by the Taliban as well as government and foreign forces. Rubenstein reveals how political and military leaders evade their legal obligations to protect health care in war, punish doctors and nurses for adhering to their responsibilities to provide care to all in need, and fail to hold perpetrators to account. Bringing together extensive research, firsthand experience, and compelling personal stories, Perilous Medicine also offers a path forward, detailing the lessons the international community needs to learn to protect people already suffering in war and those on the front lines of health care in conflict-ridden places around the world.
Poetry. Women's Studies. Young Adult. Somewhere between the stem and the fruit is that paradoxical nexus, the point that is both connection and separation, from where you came, to what you are becoming, the scene of the severing, the letting go, the stepping away, the necessary violence and the radical isolation required to be oneself, wholly. And, perhaps, holy. "The poems are written / before they occur to me," Gwen Frost declares at the conclusion of her shattering first collection. "Something about a scar, something about a hymn." She says that poetry saved her life, making this volume a document of that on-going process of healing, and a gift and a hope for others on the same journey. Foremost, it is a document of a contemporary young woman negotiating her way through a perilous world. "Turns out, there are a million different ways to kill a girl," she observes in "Watch," a poem that references Hitchcock's advice to "torture the women" in order to make a popular film, and by extension the misogynistic voyeurism that fetishizes violence against women. This book documents more than a few of those ways, and nowhere more chillingly than in the poem "sticking heads in the sand," in which the query "How was your summer?" follows up almost casually with another question, "What was your rapist's name?" In the inventory of anticipated experience for a young woman, "summer love and sexual assault / adventures and attacks" go hand in hand, "heads pushed into sand" both an act of violence and an act of willful forgetting. Gwen Frost won't forget, and won't let us forget. She is fiercely self-examining and self-revealing, admitting her chief fear is "what I am capable of, I am afraid / that I could kill a man, / and I am afraid / that I might like it." In lieu of this (perhaps understandable) act of violence, she exorcises and expiates through her verse. In the process, she might save us along with herself. She concludes that she "will write one, unshareable poem, / and I will let it die with me, simple and / forever, folded neatly in my throat." This is her one prediction that we must hope is untrue, for we need her to write many, many more poems, and to share them for many years to come.
Finalist for the National Book Critics Circle Award Finalist for the Los Angeles Times Book Prize Diane Seuss’s brilliant follow-up to Four-Legged Girl, a finalist for the Pulitzer Prize for Poetry Still life with stack of bills phone cord cig butt and freezer-burned Dreamsicle Still life with Easter Bunny twenty caged minks and rusty meat grinder Still life with whiskey wooden leg two potpies and a dead parakeet Still life with pork rinds pickled peppers and the Book of Revelation Still life with feeding tube oxygen half-eaten raspberry Zinger Still life with convenience store pecking order shotgun blast to the face —from “American Still Lives” Still Life with Two Dead Peacocks and a Girl takes its title from Rembrandt’s painting, a dark emblem of femininity, violence, and the viewer’s own troubled gaze. In Diane Seuss’s new collection, the notion of the still life is shattered and Rembrandt’s painting is presented across the book in pieces—details that hide more than they reveal until they’re assembled into a whole. With invention and irreverence, these poems escape gilded frames and overturn traditional representations of gender, class, and luxury. Instead, Seuss invites in the alienated, the washed-up, the ugly, and the freakish—the overlooked many of us who might more often stand in a Walmart parking lot than before the canvases of Pollock, O’Keeffe, and Rothko. Rendered with precision and profound empathy, this extraordinary gallery of lives in shards shows us that “our memories are local, acute, and unrelenting.”