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We stopped at a roadside diner. People asked if I was his daughter. They ask all the time. Hoping, accusing. We never say yes, and we never say no. We ate our food at a booth in a hungry, self-conscious rush, straight out of the wrappers. They didn't have plates. We left a tip, just change. The waitress scooped it up straight away as we slid out of the booth. She was middle-aged and bulgy, in a proper matronly waitress's dress. She shot us what I suppose was intended to be a look of gratitude. She really only managed a weak glare. I guess that's the countryside for you. People are a little edgy.' Across the heartless expanse of middle America, a teenaged girl is riding shotgun with an older man. She watches him; she sees her fascination tallied in the black looks of waitresses, the knowing smiles of motel clerks. The man can see no proper way of conducting this relationship but is bound to her by concern and tenderness; perhaps desire. The girl craves only closeness. She knows the Ice Age is coming, and we will need to huddle together for warmth. Kirsten Reed's debut novel, with its echoes of Nabokov, Kerouac and Bret Easton Ellis, captures the translucent moment at the end of childhood in all its awkwardness, sincerity and heedless vulnerability. In prose both lyrical and earthy, comic and darkly harrowing, this extraordinary young writer creates a journey of irresistible momentum and tragic possibility. It will leave you with the sense that you have met someone significant; and you will not soon forget her.
When Kiuno is thrown into the world of Chronopoint, a world she thought only in the game she played with others, she must use all of her skills to survive. With her new powers she battles monsters and other nightmares in search of the players from her alliance. Will she be too late and discover death has taken more than she ever imagined?
However Long the Day is the tale of two strangers—Niall Donovan, a poor immigrant from Ireland, and Frederick Philips, a rich ne'er-do-well from New York's Upper East Side—who discover they look so similar they could be twins. Frederick, desperate to avoid a lecture from his father, bribes Niall to switch places for the evening. Niall finds there's more to the story than Frederick let on, and is dragged through the turbulence created by World War I, the Spanish Flu, and social upheaval, and into the corrupt belly of Manhattan on the cusp of Prohibition. As Niall and Frederick hurtle through the next twenty-four hours, will either get what they bargained for?
Bill Reed has not seen or spoken to his cousin John, an adult suffering from Down Syndrome, for four years, until he receives a cryptic and disturbing letter from the mentally disabled man. The letter, composed entirely of pasted-together numbers and crudely scribbled lines, makes no sense, but gives Reed a definite sense that something is very wrong at the private, isolated facility where John resides. A former FBI agent who has recently lost his leg in a motorcycle accident, Reed has problems of his own. The last thing he needs right now is another person to look out for. Yet the more Reed tries to check on his cousin, the more resistance he encounters from the people who are supposed to be caring for John and the other residents of the Ullman Institute. Reed smells trouble, and he's not about to give up. Despite his own disability, he vows to find out what the Institute is hiding--and to rescue his cousin before it's too late!
For the past fifty years anxiety over naturalism has driven debates in social theory. One side sees social science as another kind of natural science, while the other rejects the possibility of objective and explanatory knowledge. Interpretation and Social Knowledge suggests a different route, offering a way forward for an antinaturalist sociology that overcomes the opposition between interpretation and explanation and uses theory to build concrete, historically specific causal explanations of social phenomena.