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One of the most gifted and creative psychoanalysts of his generation, D. W. Winnicott made lasting contributions to our understanding of the minds of children.
**NOW A MAJOR MOTION PICTURE STARRING JODIE COMER, EXECUTIVE PRODUCED BY BENEDICT CUMBERBATCH, AND WRITTEN BY ALICE BIRCH (NORMAL PEOPLE)** “The End We Start From by Megan Hunter is a short, concentrated book—a shot of distilled story, like the pulp of a tale boiled to a thick spiced paste. . . . With passages from mythology interspersed with its imagined future, the book is engrossing, compelling and finally hopeful.” —Naomi Alderman, author of The Power “The End We Start From is a beautifully spare, haunting meditation on the persistence of life after catastrophe. I loved it.” —Emily St. John Mandel, author of Station Eleven Longlisted for the 2018 Aspen Words Literary Prize Finalist for the Barnes & Noble 2017 Discover Great New Writers Award An indelible and elemental debut—a lyrical vision of the strangeness and beauty of new motherhood, and a tale of endurance in the face of unimaginable change. In the midst of a mysterious environmental crisis, as London is submerged below flood waters, a woman gives birth to her first child, Z. Days later, the family is forced to leave their home in search of safety. As they move from place to place, shelter to shelter, their journey traces both fear and wonder as Z's small fists grasp at the things he sees, as he grows and stretches, thriving and content against all the odds. This is a story of new motherhood in a terrifying setting: a familiar world made dangerous and unstable, its people forced to become refugees. Startlingly beautiful, Megan Hunter's The End We Start From is a gripping novel that paints an imagined future as realistic as it is frightening. And yet, though the country is falling apart around them, this family's world—of new life and new hope—sings with love.
THE MIND-BENDING CULT CLASSIC ABOUT A HOUSE THAT’S LARGER ON THE INSIDE THAN ON THE OUTSIDE • A masterpiece of horror and an astonishingly immersive, maze-like reading experience that redefines the boundaries of a novel. ''Simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious." —Michiko Kakutani, The New York Times "Thrillingly alive, sublimely creepy, distressingly scary, breathtakingly intelligent—it renders most other fiction meaningless." —Bret Easton Ellis, bestselling author of American Psycho “This demonically brilliant book is impossible to ignore.” —Jonathan Lethem, award-winning author of Motherless Brooklyn One of The Atlantic’s Great American Novels of the Past 100 Years Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices, the story remains unchanged. Similarly, the cultural fascination with House of Leaves remains as fervent and as imaginative as ever. The novel has gone on to inspire doctorate-level courses and masters theses, cultural phenomena like the online urban legend of “the backrooms,” and incredible works of art in entirely unrealted mediums from music to video games. Neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of the impossibility of their new home, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.
Reading Winnicott brings together a selection of papers by the psychoanalyst and paediatrician Donald Winnicott, providing an insight into his work and charting its impact on the well-being of mothers, babies, children and families. With individual introductions summarising the key features of each of Winnicott’s papers this book not only offers an overview of Winnicott’s work, but also links it with Freud and later theorists. Areas of discussion include: the relational environment and the place of infantile sexuality aggression and destructiveness illusion and transitional phenomena theory and practice of psychoanalysis of adults and children. As such Reading Winnicott will be essential reading for all students wanting to learn more about Winnicott’s theories and their impact on psychoanalysis and the wider field of mental health.
What--other than embarrassment--could one hope to gain from prolonged exposure to the social mistake? Why think much about what many would like simply to forget? In Bad Form: Social Mistakes and the Nineteenth-Century Novel, Kent Puckett argues that whatever its awkwardness, the social mistake-the blunder, the gaffe, the faux pas-is a figure of critical importance to the nineteenth-century novel. While offering significant new readings of Thackeray, Flaubert, Eliot, James, and others, Puckett shows how the classic realist novel achieves its coherence thanks to minor mistakes that novels both represent and make. While uncovering the nineteenth-century novel's persistent social and structural reliance on the non-catastrophic mistake-eating peas with your knife, saying the wrong thing, overdressing-Bad Form argues that the novel's once considerable cultural authority depends on what we might otherwise think of as that authority's opposite: a jittery, anxious, obsessive attention to the mistakes of others that is its own kind of bad form. Drawing on sociology, psychoanalysis, narrative theory, and the period's large literature on etiquette, Puckett demonstrates that the nineteenth-century novel relies for its form on the paradoxical force of the social mistake.
The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.
Human Rights and the Body is a response to the crisis in human rights, to the very real concern that without a secure foundation for the concept of human rights, their very existence is threatened. While there has been consideration of the discourses of human rights and the way in which the body is written upon, research in linguistics has not yet been fully brought to bear on either human rights or the body. Drawing on legal concepts and aspects of the law of human rights, Mooney aims to provide a universally defensible set of human rights and a foundation, or rather a frame, for them. She argues that the proper frames for human rights are firstly the human body, seen as an index reliant on the natural world, secondly the globe and finally, language. These three frames generate rights to food, water, sleep and shelter, environmental protection and a right against dehumanization. This book is essential reading for researchers and graduate students in the fields of human rights and semiotics of law.
A stunning account of life behind bars at the federal penitentiary in Leavenworth, Kansas, where the nation’s hardest criminals do hard time. “A page-turner, as compelling and evocative as the finest novel. The best book on prison I’ve ever read.”—Jonathan Kellerman The most dreaded facility in the prison system because of its fierce population, Leavenworth is governed by ruthless clans competing for dominance. Among the “star” players in these pages: Carl Cletus Bowles, the sexual predator with a talent for murder; Dallas Scott, a gang member who has spent almost thirty of his forty-two years behind bars; indomitable Warden Robert Matthews, who put his shoulder against his prison’s grim reality; Thomas Silverstein, a sociopath confined in “no human contact” status since 1983; “tough cop” guard Eddie Geouge, the only officer in the penitentiary with the authority to sentence an inmate to “the Hole”; and William Post, a bank robber with a criminal record going back to when he was eight years old—and known as the “Catman” for his devoted care of the cats who live inside the prison walls. Pete Earley, celebrated reporter and author of Family of Spies, all but lived for nearly two years inside the primordial world of Leavenworth, where he conducted hundreds of interviews. Out of this unique, extraordinary access comes the riveting story of what life is actually like in the oldest maximum-security prison in the country. Praise for The Hot House “Reporting at its very finest.”—Los Angeles Times “The book is a large act of courage, its subject an important one, and . . . Earley does it justice.”—The Washington Post Book World “[A] riveting, fiercely unsentimental book . . . To [Earley’s] credit, he does not romanticize the keepers or the criminals. His cool and concise prose style serves him well. . . . This is a gutsy book.”—Chicago Tribune “Harrowing . . . an exceptional work of journalism.”—Detroit Free Press “If you’re going to read any book about prison, The Hot House is the one. . . . It is the most realistic, unbuffed account of prison anywhere in print.”—Kansas City Star “A superb piece of reporting.”—Tom Clancy
Timber Home Living introduces and showcases the beauty and efficiency of timber homes to an eager custom home buying audience. The magazine’s inspiring photography, informative editorial, quality advertising and essential resources involves and encourages readers to pursue their dream home.
