Oblivion's Triumph


Book Description

Shaara is running out of friends. The sacrifices she and Warden made two years ago bought the League time, not victory. The war against the Undying has left them exhausted, drained of everything but hope—and precious little of that. The simple fact is that the Undying are going to win. Warden knows it, Shaara knows it. The Undying sure as hell know it. Until, out of the black, the Eternal comes to Shaara with an offer she can’t refuse, however much she’d like to. The threat he warned her about two years ago is real, and now it’s come calling. It cares nothing for their little war. All life in the galaxy, Undying or not, will end if it spreads unchecked. Shaara and the Eternal have little choice but to work together to destroy it . . . At least, for now. But people on both sides aren’t happy with an alliance, however temporary. Some of them are willing to risk all that lives just for a shot at power—and revenge. If Shaara can’t find a way to defeat them, she and the few friends she has left will lose more than their lives. They’ll lose everything.




Nabokov


Book Description

Vladimir Nabokov described the literature course he taught at Cornell as "a kind of detective investigation of the mystery of literary structures." Leona Toker here pursues a similar investigation of the enigmatic structures of Nabokov's own fiction. According to Toker, most previous critics stressed either Nabokov’s concern with form or the humanistic side of his works, but rarely if ever the two together. In sensitive and revealing readings of ten novels, Toker demonstrates that the need to reconcile the human element with aesthetic or metaphysical pursuits is a constant theme of Nabokov’s and that the tension between technique and content is itself a key to his fiction. Written with verve and precision, Toker’s book begins with Pnin and follows the circular pattern that is one of her subject’s own favored devices.




Imago Triumphalis


Book Description

Imago Triumphalis: The Function and Significance of Triumphal Imagery for Renaissance Rulers examines how independent rulers in fifteenth-century Italy used the motif of the Roman triumph for self-aggrandizement and personal expression. Triumphal imagery, replete with connotations of victory and splendor, was recognized during the Renaissance as a reflection of the glory of classical antiquity. Its appeal as a powerful visual bearer of meaning is evidenced by its appearance as a dominant theme in literature, architecture, and art. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d'Este chose to incorporate the triumphal motif in major artistic commissions in which they were represented. They recognized that the image of the triumph could retain its classical associations while functioning as a highly personalized commentary.




Rendezvous with Oblivion


Book Description

Tack and Richardson show you how to start with a batch of plain cupcakes, and turn them into fun creations such as robots, farm- or zoo-animals, and even a cookie village! --Adapted from back cover.




No Trace of the Gardener


Book Description

Drawing on avant-garde traditions of Europe and the United States as well as on the traditions of classical Chinese poetry and prose, his work explores intense sensuality, the anguish of war, exile, the colonial experience, and conflicting views of national and cultural identity.




Reading De Man Reading


Book Description




The Gaze of the Listener


Book Description

This study analyzes representations of music in fiction, drama and poetry as well as normative texts in order to contribute to a gendered cultural history of domestic performance. From the Tudors to the First World War, playing the harpsichord or piano was an indispensable asset of any potential bride, and education manuals as well as courtship plots and love poems pay homage to this social function of music. The Gaze of the Listener charts the fundamental tension which determines all these texts: while music is warmly recommended in conduct books and provides standard metaphors like ?concord? and ?harmony? for virtuous love, a profound anxiety about its sensuous inarticulateness and implicit femininity unsettles all descriptions of actual music-making. Along with repressive plot lines, the privileging of visual perception over musical appreciation is the most telling indicator of this problem. The Gaze of the Listener is the first coherent account of this discourse and its historical continuity from the Elizabethan to the Edwardian period and provides a significant background for more narrowly focused research. Its uniquely wide database contextualizes numerous ?minor? works with classics without limiting itself to the fringe phenomenon of ?musician novels'. Including a fresh account of the novels of Jane Austen in their contemporary (rather than Victorian) context, the book is of interest to scholars and students in gender studies, English literature, cultural studies and musicology.







The Violent Century


Book Description

Praise for The Violent Century “The Violent Century is a very sophisticated blend of fantasy and real life. Of flawed superheroes engaging with key events in the twentieth and twenty-first centuries. Lavie Tidhar is a veteran of seamlessly weaving an intriguing blend of fiction into world changing historical events.” —Strange Alliances “The Violent Centuryis a wonderfully constructed, crafted work that bears a great emotional weight even as it raises more intellectual questions. It’s the kind of work that lingers in the mind long after the reading.” —Fantasy Literature “Heart, a sly sense of humour, great action set-pieces and a range of fascinating supporting players.” —Newtown Review of Books “A brilliantly etched phantasmagoric reconfiguring of that most sizzling of eras—the twilight 20th . . . a torrid tour de force.” —James Ellroy, author of L.A. Confidential and Blood’s a Rover “A brilliant novel of ideas.” — B&N Book Blog “The Violent Century is admirably plotted and well paced, with an atmosphere of menace throughout, I’m puzzled as to why this wasn’t on any award shortlist for its year.” —Jack Deighton, author of A Son of the Rock “Like Watchmen on crack.” —io9 “If Nietzche had written an X-Men storyline whilst high on mescaline, it might have read something like The Violent Century.” —Adam Roberts, author of Jack Glass “Pack your bags and go home; the superhero genre is now completed . . . if John le Carre wrote a superhero novel about the Cold War, it might be this good.” —Charles Stross, author of Neptune’s Brood: A Space Opera “The Violent Century is a brilliant story of superheroes and spies and secret histories. It stands with Alan Moore’s Watchmen as an examination of the myths that we made in the 20th Century and the ways they still haunt us now. it’s as dramatic and vital as the best comic books and as beautifully written and evocative as any literary novel today. Read it. You’ll see.” — Christopher Farnsworth, author of Blood Oath and Flashmob “An alternative history tour-de-force. Epic, intense and authentic. Lavie Tidhar reboots the 20th century with spies and superheroes battling for mastery—and the results are electric.” —Tom Harper, author of The Lost Temple “A stunning masterpiece” —The Independent “Tidhar synthesises the geeky and the political in a vision of world events that breaks new superhero ground.” —The Guardian “It’s hard, but not impossible as Alan Moore, Neil Gaiman, Mike Carey and others have shown, to create a morally complex, artistically ambitious story based on characters whose origins are not that far removed from the simplicity of Superman, Spiderman, and their ilk. Tidhar has succeeded brilliantly in this task.” —LA Review of Books “A sophisticated, moving and gripping take on 20th century conflicts and our capacity for love and hate, honour and betrayal.” —The Daily Mail “A love story and meditation on heroism, this is an elegiac espionage adventure that demands a second reading.” —Metro “Could keep anyone, regardless of the types of stories they regularly enjoy, interested and engaged. Tidhar has created a book that oozes excellence in both characterisation and storytelling.” —The Huffington Post [STARRED REVIEW]"This study in heroism, love, revenge, and violence will be in demand by lovers of complex, intelligent sf and alternative history. Anyone who enjoys stories of people with supernatural abilities will thrive reading Tidhar’s world.” —Library Journal “A terrifically told tale of heroism and enduring friendship that captures our imaginations from the very first page.” —Booklist “If you love Philip K. Dick, Lavie Tidhar should be your new favorite writer . . . an unforgettable read.” —The Jewish Standard “He’s dealing with the grandest schemes on the largest of backdrops in time and place, and this level of awe-inspiring craft places him firmly within the highest tier of writers working today, no longer an emerging writer, but a master.” —British Fantasy Society “Intense and evocative.” —SFX “Gripping, imaginative and moving.” —Sci Fi Now “The sort of thing Quentin Tarantino did as bloody wish-fulfillment in Inglourious Basterds, multiplied by several orders of magnitude.” —Locus “This is a novel that can break your heart and then, ever so subtly, include a cameo by Stan Lee. Tidhar clearly knows as much about supermen of all kinds as he does about the circumstances that produce them.” —Strange Horizons “The Violent Century is an excellent novel that demonstrates, once again, the impressive versatility of its author.” —Interzone “A masterful example of alternate universe science fiction and can only add to its author’s rapidly growing reputation.”— The Los Angeles Review of Books “An original, engrossing fusion of noir-ish super-heroes and gritty espionage thriller . . . a fantastic novel” —Civilian Reader “Lavie Tidhar is no longer a rising star in the genre, but one burning bright.” —Staffer’s Book Review Praise for the Campbell Award and Neukom Literary-winning novel Central Station An NPR Best Book of 2016 An Amazon Featured Best Science Fiction & Fantasy Book A Tor.com Best Book of 2016 A Guardian Best SF & Fantasy Book of 2016 A Publishers Weekly Staff Pick A Kirkus Best Science Fiction and Fantasy pick British Science Fiction Award, shortlist Arthur C. Clarke Award, shortlist “It is just this side of a masterpiece — short, restrained, lush — and the truest joy of it is in the way Tidhar scatters brilliant ideas like pennies on the sidewalk.” —NPR Books [STARRED REVIEW] "Readers of all persuasions will be entranced.” —Publishers Weekly [STARRED REVIEW] “. . . a fascinating future glimpsed through the lens of a tight-knit community. Verdict: Tidhar (A Man Lies Dreaming; The Violent Century) changes genres with every outing, but his astounding talents guarantee something new and compelling no matter the story he tells.” —Library Journal, starred review "A sprawling hymn to the glory and mess of cultural diversity.” —Guardian ”Quietly enthralling and subtly ingenious.” —Asimov's Science Fiction “Beautiful, original, a shimmering tapestry of connections and images - I can't think of another SF novel quite like it. Lavie Tidhar is one of the most distinctive voices to enter the field in many years.” —Alastair Reynolds, author of the Revelation Space series “If you want to know what SF is going to look like in the next decade, this is it.” —Gardner Dozois, editor of the bestselling Year’s Best Science Fiction series “A dazzling tale of complicated politics and even more complicated souls. Beautiful.” —Ken Liu, author of The Paper Menagerie “Central Station is masterful: simultaneously spare and sweeping—a perfect combination of emotional sophistication and speculative vision. Tidhar always stuns me.” —Kij Johnson, author of At the Mouth of the River of Bees “ A unique marriage of Philip K. Dick, William Gibson, C. L. Moore, China Miéville, and Larry Niven with 50 degrees of compassion and the bizarre added. An irresistible cocktail.” —Maxim Jakubowski, author of the Sunday Times bestselling Vina Jackson novels Praise for Unholy Land “Lavie Tidhar does it again. A jewelled little box of miracles. Magnificent.” —Warren Ellis, author of Gun Machine “[STARRED REVIEW] Readers of all kinds, and particularly fans of detective stories and puzzles, will enjoy grappling with the numerous questions raised by this stellar work.” —Publishers Weekly “It’s precisely what we’ve come to expect of Tidhar, a writer who just keeps getting better.” —Angela Slatter, author of the World Fantasy Award-winning The Bitterwood Bible “There are SFF writers. There are good SFF writers. And there is Lavie Tidhar . . . Bold and witty and smoky, [Unholy Land] plays games and coquetries, makes dark dalliances and will leave you dazzled and delighted.” —Ian McDonald, author of Time Was and Luna: Wolf Moon "A genius, dreamlike fantasy for those who slip across might-have-been worlds.” —Saad Z. Hossain, author of Escape from Baghdad! “Unholy Land is a stunning achievement.” —The Speculative Shelf “Lavie Tidhar has given us a mystically charged, morally complex vision of Theodor Herzl’s famous Jewish state that might have been.” —James Morrow, author of The Last Witchfinder and Shambling Towards Hiroshima “Lavie Tidhar’s daring Unholy Land brilliantly showcases one of the foremost science fiction authors of our generation.” — Silvia Moreno-Garcia, World Fantasy Award-winning editor and author of Certain Dark Things “Unholy Land is probably better than Michael Chabon’s Yiddish Policeman’s Union.” —Bradley Horner, author of the Darkside Earther series




Derrida and Autobiography


Book Description

The work of Jacques Derrida can be seen to reinvent most theories. In this book Robert Smith offers both a reading of the philosophy of Derrida and an investigation of current theories of autobiography. Smith argues that for Derrida autobiography is not so much subjective self-revelation as relation to the other, not so much a general condition of thought as a general condition of writing - what Derrida calls the 'autobiography of the writing' - which mocks any self-centred finitude of living and dying. In this context, and using literary-critical, philosophical, and psychoanalytical sources, Smith thinks through Derrida's texts in a new, but distinctly Derridean, way, and finds new perspectives to analyse the work of classical writers including Hegel, Nietzsche, Kierkegaard, Freud, and de Man.