![]() ![]() The Sheltering Sky (1949), which remains Bowles’s most celebrated work, describes the unraveling of a young, sophisticated, and adventuresome married couple as they make their way into the Sahara. ![]() This Library of America volume, containing his first three novels, with its companion Collected Stories and Later Writings, is the first annotated edition of Bowles’s work, offering the full range of his literary achievement: the portrait of an outsider who was one of the essential American writers of the last half century. ![]() ![]() From his base in Tangier he produced novels, stories, and travel writings in which exquisite surfaces and violent undercurrents mingle. By the time of his death in 1999 he had become a unique and legendary figure in modern literary culture. Paul Bowles had already established himself as an important American composer when, at the age of 38, he published The Sheltering Sky and became widely recognized as one of the most powerful writers of the postwar period. Your credit card will not be charged until the book is shipped. You may order a copy now and it will be shipped to you when the reprint has arrived. This title is out of stock and a reprint has not yet been scheduled. ![]()
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![]() ![]() ![]() Under the Moons of Mars inaugurated the Barsoom series. ![]() He is also known for the hollow Earth–themed Pellucidar series, beginning with At the Earth’s Core (1914) and the lost world–themed Caspak trilogy, beginning with The Land that Time Forgot (1918).Īiming his work at the pulps-under the name “Norman Bean” to protect his reputation-Burroughs had his first story, Under the Moons of Mars, serialized by Frank Munsey in the February to July 1912 issues of The All-Story. His most well-known creations include Tarzan of the Apes, John Carter of Mars ( Barsoom series) and Carson Napier of Venus ( Amtor series). Edgar Rice Burroughs (1875 –1950) was an American speculative fiction writer, best known for his prolific output in the adventure, science fiction and fantasy genres. ![]() ![]() ![]() There, the one with the old, empty whiskey bottle balanced against the stone. Here was the grave that was always well attended by fresh flowers. She visited the cemetery at least once a week, which meant she saw more of the people lying here than the handful of living friends she had. ![]() Was it strange to think of the dead as friends? A profound silence settled over the world as she walked up the winding path between the flower beds that led to the gated entrance, and then took the turns she had committed to memory over the last two and a half years, passing gravestones that had become familiar markers. When she arrived at Rosewood Gardens, there were a few other cars parked in the lot, but she saw nobody. In the middle of the afternoon, Amanda started out on the short drive to visit her father. A boy was being killed right then, but nobody knew it yet. Having been woken in the early hours by the familiar nightmare, she clung to the thin threads of sleep for as long as possible, and it was approaching noon by the time she was up and showered and making coffee. On the day it began, Detective Amanda Beck was technically off work. ![]() ![]() ![]() This ode to self-acceptance, self-respect, and familial legacy features the sunny, brightly colored illustrations of Dung Ho in a style that recalls the work of classic Disney artists. The girl is Asian, and she loves her eyes, which are just like her Mama’s and her Amah’s and her sister’s. “I have eyes that kiss in the corners and glow like warm tea,” we read when we finally see her face on the following spread (pictured below). What does she think when she sees her face? As she waves to classmates on the next spread - once again, we see her from behind - she notes that their eyes are shaped differently than hers. ![]() On the first spread of Joanna Ho’s Eyes That Kiss in the Corners (Harper, January 2021), we see a young girl on her way out of the house, backpack on her shoulders. ![]() “My eyes that kiss in the corners and glow like warm tea are a revolution.” ![]() ![]() ![]() Because the text approaches these issues from the gound up, the untrained reader will emerge from its pages able to explore other philosophies with greater pleasure and understanding and be able to think-philosophically-for him or herself. Each chapter explains a major issue, and gives the reader a self-contained guide through the problems that the philosophers have studied. ![]() In a lively and accessible style, BlackburnĪpproaches the nature of human reflection and how we think, or can think, about knowledge, fate, ethics, identity, God, reason, and truth. Simon Blackburn, author of the best-selling Oxford Dictionary of Philosophy, begins by making a convincing case for the relevance of philosophy and goes on to give the reader a sense of how the great historical figures such as Plato, Hume, Kant, Descartes, and others have approached its central themes. ![]() Written expressly for "anyone who believes there are big questions out there, but does not know how toĪpproach them," Think provides a sound framework for exploring the most basic themes of philosophy, and for understanding how major philosophers have tackled the questions that have pressed themselves most forcefully on human consciousness. Here at last is a coherent, unintimidating introduction to the challenging and fascinating landscape of Western philosophy. ![]() ![]() ![]() All of these memories continue to be important for Dillard because in each of them she can recall becoming more alert and aware of her own psyche and environment, aiding her development as an artist.Īnnie Dillard’s memoir, An American Childhood, is filled and adorned with references to innumerable literary and 1950’s pop culture sources. The reader is exposed to many other anecdotes such as her being chased by a driver, her time spent in a lakehouse on Lake Erie, and the time she crashed a car at a drag race. This event teaches Dillard that her imagination is a tool under her command which she can manipulate and command to create a world beyond the one she was living in. ![]() ![]() For example, the reader learns of Dillard’s experience with a fictional monster in her room that was, in reality, a shadow cast by light from a passing car. These anecdotes are not presented as a day to day account of Dillard’s childhood, but rather have an impressionistic edge to them, with each anecdote playing an important role in the development of the characters and storyline. ![]() An American Childhood lacks a solid, continuous plot, and is presented as a series of anecdotes. ![]() ![]() ![]() ![]() ![]() When Charlotte Makepeace arrives as a new girl at boarding school, she finds herself feeling very apprehensive, but when she is shown to her dormitory by an older pupil who seems kind and friendly, she begins to feel just a little bit better. To learn more about how and for what purposes Amazon uses personal information (such as Amazon Store order history), please visit our Privacy Notice. You can change your choices at any time by visiting Cookie Preferences, as described in the Cookie Notice. Click ‘Customise Cookies’ to decline these cookies, make more detailed choices, or learn more. Third parties use cookies for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products. This includes using first- and third-party cookies, which store or access standard device information such as a unique identifier. If you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie Notice. ![]() We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements. We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie Notice. ![]() ![]() ![]() ![]() Don't miss the captivating audio version (Listen & Live audio), read by Katherine Kellgren. Meyer (Houghton Mifflin Harcourt) and finds herself battling pirates on the high seas. In a similar vein, for readers aged 12-up, orphaned Mary "Jacky" Faber passes for the titular ship's boy in Bloody Jack by L.A. ![]() Lest you think girls have no place among pirates, the heroine of the charming early chapter book Kylie Jean, Pirate Queen by Marci Peschke, illustrated by Tuesday Mourning (Capstone), sets out to prove otherwise. In How I Became a Pirate by Melinda Long, illustrated by David Shannon (Houghton Mifflin Harcourt), young Jeremy Jacobs can't resist a pirate crew's invitation to join up, but discovers he's a landlubber at heart (there's no place like home). Here are some books to help you and yours brush up on your lingo and avoid walking the plank. Next Thursday, September 19, is International Talk Like a Pirate Day. ![]() ![]() Please be aware that the delivery time frame may vary according to the area of delivery and due to various reasons, the delivery may take longer than the original estimated timeframe. ![]()
![]() ![]() Epstein, a former Sports Illustrated writer, starts his book with deceptively simple stories about golf and tennis. In his most recent book, Range: How Generalists Triumph in a Specialized World, David Epstein explains lucidly and with voluminous research why generalists thrive in an era of increasing specialization. Indeed, for all the handwaving at cross-disciplinary projects, universities continue to fetishize specialization. The god-term “interdisciplinarity” serves as a cloak for provincialism. Seldom do we meet practitioners in other fields as equals. In practice, however, crossing disciplinary boundaries too often amounts to invasion rather than collaboration: we use or critique other disciplines to our own ends. ![]() I have never met anyone who said that she opposes interdisciplinary scholarship in principle, and plaudits generally await those who cross-pollinate their research with research in other fields. University faculty and administrators make considerable noise about “interdisciplinary” work. ![]() |
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