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There is a place—a world—where famine and poverty do not exist. Nor sickness nor misery nor unhappiness of any kind. Is it Heaven? As two brothers are about to discover, it’s more like Hell. Michael Glynn is a hotshot director addicted to a there’s-no-success-like-excess hedonism. Daniel Glynn is a professor of literature, devoted husband, and doting father with a quietly buttoned-down life. Brothers bound by blood. But brothers waging a private civil war—an emotional feud of lies and deceit and dark secrets buried but not forgotten. But all that is about to change. One day the brothers are visited simultaneously by gun-wielding strangers claiming to be agents of an elite government security agency. Each brother is questioned about the whereabouts of the other. What they want is “the code.” The strangers are convinced one of the brothers possesses the code, but they aren’t sure which. Having maintained only sporadic contact, Michael and Daniel can be of no assistance. Or so they think. The strangers will not take no for an answer. Their instructions are simple: find your brother or die. But what begins as a cross-country manhunt—brother converging on brother—turns into an odyssey of discovery neither could have imagined. It is a journey that will take them to a world of perfect human happiness. A world purged of suffering. A world without death. A world where a life can be relived and mistakes corrected. Both have been given a second chance. The question is, is a second chance what they really need? For Michael and Daniel the answer to that question will be found by unraveling the mystery of the impossible bird.
Kafka's three novels, to be understood as an ever more intricate portrayal of the inner life of one central character (Henry James's 'centre of consciousness'), each reflecting the problems of their self-critical creator, are tantamount to dreams. The hieroglyphic, pictorial language in which they are written is the symbolic language in which dreams and thoughts on the edge of sleep are visualized. Not for nothing did Kafka define his writing as a matter of fantasizing with whole orchestras of [free] associations. Written in a deliberately enhanced hypnagogic state, these novels embody the alternative logic of dreams, with the emphasis on chains of association and verbal bridges between words and word-complexes. The product of many years' preoccupation with its subject, Patrick Bridgwater's new book is an original, chapter-by-chapter study of three extraordinarily detailed novels, of each of which it offers a radically new reading that makes more, and different, sense than any previous reading. In Barthes' terms these fascinating novels are 'unreadable', but the present book shows that, properly read, they are entirely, if ambiguously, readable. Rooted in Kafka's use of language, it consistently explores, in detail, (i) the linguistic implications of the dreamlike nature of his work, (ii) the metaphors he takes literally, and (iii) the ambiguities of so many of the words he chooses to use. In doing so it takes account not only of the secondary meanings of German words and the sometimes dated metaphors of which Kafka, taking them literally, spins his text, but also, where relevant, of Czech and Italian etymology. Split, for ease of reference, into chapters corresponding to the chapters of the novels in the new Originalfassung, the book is aimed at all readers of Kafka with a knowledge of German, for the author shows that Kafka's texts can be understood only in the language in which they were written: because Kafka's meaning is often hidden beneath the surface of the text, conveyed via secondary meanings that are specific to German, any translation is necessarily an Oberflächenübersetzung.
For more than 50 years John Clute has been reviewing science fiction and fantasy. As Scores demonstrates, his devotion to the task of understanding the central literatures of our era has not slackened. There are jokes in Scores, and curses, and tirades, and apologies, and riffs; but every word of every review, in the end, is about how we understand the stories we tell about the world. Following on from his two previous books of collected reviews (Strokes and Look at the Evidence) this book collects reviews from a wide variety of sources, but mostly from Interzone, the New York Review of Science Fiction, and Science Fiction Weekly. Where it has seemed possible to do so without distorting contemporary responses to books, these reviews have been revised, sometimes extensively. 125 review articles, over 200 books reviewed in more than 214,000 words.
CMJ New Music Monthly, the first consumer magazine to include a bound-in CD sampler, is the leading publication for the emerging music enthusiast. NMM is a monthly magazine with interviews, reviews, and special features. Each magazine comes with a CD of 15-24 songs by well-established bands, unsigned bands and everything in between. It is published by CMJ Network, Inc.
An intriguing but insular man with telekinetic powers becomes New York City’s greatest superhero . . . A love affair blossoms between the Empire State Building and the Chrysler Building . . . There are tunnels under New York that do not appear on any map . . . Being a Manhattan real estate broker for supernaturals is a real challenge . . . Editor and anthologist Paula Guran collects a diverse array of unusual and memorable tales set in the Big Apple, from a who’s-who of New York Times bestsellers and Hugo and Nebula Award-winning writers including George R. R. Martin, Peter Straub, Naomi Novik, Maria Dahvana Headley, Holly Black, and many more. Anyone who’s visited New York, New York knows what a “magical” place it is; these stories reveal just how marvelous, extraordinary, mysterious, and even occasionally eerie a truly fantastic city can be.
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.