Bestselling middle grade author Lisa Papademetriou is back with a playful, poignant story that will resonate with anyone who’s ever had to learn that love means accepting people—even yourself—for who they really are. Callie never meant to let it go this far. Sure, she may have accidentally-on-purpose skipped a day at her fancy New York City prep school, but she never thought she’d skip the day after that! And the one after that . . . and . . . uh . . . the one after that. But when everything in your real life is going wrong (fighting parents! bullied little brother! girls at school who just. don’t. get. it!) skipping school starts to look like a valid mental-health strategy. And when Callie runs into Cassius, a mysterious and prickly “unschooled” kid doing research at museums all across the city, it seems only natural for her to join him. Because museums are educational, which means they’re as good as going to class. Right? Besides, school can wait. What can’t wait is the mystery of why her grandmother seems to wish she could travel back in time to 1986, or what she wants so much to relive there. As Cassius helps Callie see the world in a whole new light, she realizes that the people she loves are far from perfect—and that some family secrets shouldn’t be secret at all.
Bestselling middle grade author Lisa Papademetriou is back with a playful, poignant story that will resonate with anyone who’s ever had to learn that love means accepting people—even yourself—for who they really are. Callie never meant to let it go this far. Sure, she may have accidentally-on-purpose skipped a day at her fancy New York City prep school, but she never thought she’d skip the day after that! And the one after that . . . and . . . uh . . . the one after that. But when everything in your real life is going wrong (fighting parents! bullied little brother! girls at school who just. don’t. get. it!) skipping school starts to look like a valid mental-health strategy. And when Callie runs into Cassius, a mysterious and prickly “unschooled” kid doing research at museums all across the city, it seems only natural for her to join him. Because museums are educational, which means they’re as good as going to class. Right? Besides, school can wait. What can’t wait is the mystery of why her grandmother seems to wish she could travel back in time to 1986, or what she wants so much to relive there. As Cassius helps Callie see the world in a whole new light, she realizes that the people she loves are far from perfect—and that some family secrets shouldn’t be secret at all.
Discover what lurks in the shadowed corners of The Graveyard Apartment, and brace yourself for a literary experience that you won't forget. This psychological horror unravels the unsettling experiences of a young family, innocently enticed by the seemingly idyllic vistas of their new apartment. Situated beside a graveyard, the building quietly harbors an insidious evil, nudging them down a path of inexplicable, panic-inducing occurrences. With each passing day, the walls of this pristine apartment close in bit by bit, trapping them against the bygone souls that echo from beyond the grave. With the complex interplay of nail-biting suspense and thrilling horror, this masterpiece will challenge the bravest of readers. Its haunting narrative, intricately woven around the domestic and psychological aspects of horror, intensifies with each page turn, culminating with a conclusion that will make you think twice before ever going into a basement again.
A “dissident of the gender-sex binary system” reflects on gender transitioning and political and cultural transitions in technoscientific capitalism. Uranus, the frozen giant, is the coldest planet in the solar system as well as a deity in Greek mythology. It is also the inspiration for uranism, a concept coined by the writer Karl Heinrich Ulrich in 1864 to define the “third sex” and the rights of those who “love differently.” Following Ulrich, Paul B. Preciado dreams of an apartment on Uranus where he might live beyond existing power, gender and racial strictures invented by modernity. “My trans condition is a new form of uranism,” he writes. “I am not a man. I am not a woman. I am not heterosexual. I am not homosexual. I am not bisexual. I am a dissident of the gender-sex binary system. I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you. I am a uranist confined inside the limits of technoscientific capitalism.” This book recounts Preciado's transformation from Beatriz into Paul B., but it is not only an account of gender transitioning. Preciado also considers political, cultural, and sexual transition, reflecting on issues that range from the rise of neo-fascism in Europe to the technological appropriation of the uterus, from the harassment of trans children to the role museums might play in the cultural revolution to come. An Apartment on Uranus is a bold, transgressive, and necessary book.
No one can complain that in this story Mr. Howells has taken his type from the commonplace. It is a study of life in New York, and the author has brought together such a gallery of odd and strongly differentiated characters as could perhaps be found in no other city on the continent, while the conditions and phases of social life represented are not less distinctive and peculiar. The Marches, it is true, are from Boston, but they serve the purpose of external points of observation, whence to note and sufficiently to emphasize those features of our city life which of necessity strike strangers and outsiders most forcibly and with the greatest freshness of suggestion. A new magazine is founded with the money of old Dryfoos, a "natural gas millionaire," whose primary object is to give his son Conrad — a youth of saint-like character and dominant altruism — opportunity to become a businessman. The prime mover of the venture is Fulkerson, a true Western Yankee, if the phrase be allowable, whose engaging impudence, fluent slang, indomitable assurance, and substantial loyalty and goodness of heart are sure to make him as great a favorite with the reader as he is with all who know him in the story. The Marches, too, are fantastic, and nowhere has Mr. Howells better presented that peculiar American humor which finds motives for half-sarcastic jest and quip in even the most serious things, less out of lightness of heart than from an almost desperate conscious ness of hopeless incongruities and perplexities inherent in the general scheme. The picture is in itself a condemnation of and protest against that rank growth of naked materialism which is the most depressing feature of our time. The character and the faults of society are shown plainly but temperately — the spirit of levity, the love of spectacle, the repugnance to serious thinking, the absence of jealousy of popular rights, constantly encroached upon, ignored and subordinated to selfish corporate or individual interests. The aspects of the city are also most graphically and admirably described in many a wandering of the Marches, and the book exhibits an amount of local study undertaken by the author which speaks well for his conscientiousness, and adds much to the charm and permanent interest of the story. There is, as we have intimated, an unwonted variety and an unwonted force in " A Hazard of New Fortunes." If it can hardly be said to have a dominant note, it is none the less a faithful and carefully elaborated study of New York life, and it presents some of the most salient characteristics of that life in a very impressive and artistic manner. Most readers will, we think, agree with us that the change in method here shown is a change for the better. Never, certainly, has Mr. Howells written more brilliantly, more clearly, more firmly, or more attractively, than in this instance. The reversion to these strong individualizations seems to have put new vigor into his hands, and he deals with the deeper tragedies, the graver emotions of life, with a power which may perhaps be regarded as a practical demonstration of the ultimate supremacy destined to be attained by Nature over Art ; by the true over the false Realism.
Manual of numerical methods in concrete aims to present a unified approach for the available mathematical models of concrete, linking them to finite element analysis and to computer programs in which special provisions are made for concrete plasticity, cracking and crushing with and without concrete aggregate interlocking. Creep, temperature, and shrinkage formulations are included and geared to various concrete constitutive models.
