One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.
Following up Betty DeRamus’s Essence bestselling Forbidden Fruit, Freedom by Any Means follows the story of extraordinary acts of courage and love by Blacks in the American slave era with beautifully written and inspiring stories of how slaves used the law—against all odds—to gain freedom for themselves and loved ones. In Freedom by Any Means, Betty DeRamus explains that “Much of what we think we know about African American history isn't completely true.” Slave freedom isn’t limited to the usual story—slaves gained their freedom by running away, being freed by their owners, buying their way out of bondage, or having someone else buy them. But history doesn’t account for the slaves who bluffed their way to freedom, sidestepped tricks and traps, won lawsuits, or even gained their freedom by their cooking. Riveting and surprising, DeRamus captures the tumultuous lives of the humans in inhumane situations who were able to salvage their families and marriages and achieve freedom together against tremendous odds. It takes a broader look at the various extraordinary ways that enslaved and dehumanized people achieved freedom and the means to a self-determined life. Among these people are visionaries who not only survived against the odds, but prospered—building businesses, owning land and other property. Freedom by Any Means also features the return of many of the beloved figures from her previous book Forbidden Fruit, including Lucy Nichols, Al and Margaret Wood, and Sylvia and Louis Stark. This inspiring account, steeped in rich historical research, attests to the resolve of the human spirit and reveals how men and women were willing to risk it all to escape the slavery.
“For my money, Tony Bennett is the best singer in the business, the best exponent of a song. He excites me when I watch him. . . . He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.” — Frank Sinatra “As breezy and meaningful as one of his trademark songs as readers learn about the man by the company he kept and the heroes he worships. Bennett’s ethereal still lifes and landscape paintings adorn this simple yet profound and gracious homage.”— Booklist Tony Bennett was one of our most vibrant musicians ever to grace the stage. In his previous book, Life Is a Gift, Tony reflected on the lessons he learned over the years. In Just Getting Started, he pays homage to the remarkable people who inspired those lessons. In his warm and inviting voice, Tony talks about who and what have enriched his own life, including Charlie Chaplin, Judy Garland, Dr. Martin Luther King, Jr., Cole Porter, Amy Winehouse, Fred Astaire, Lady Gaga, members of his family, significant places, and more. Just Getting Started chronicles the relationship Tony enjoyed with each one of these legends, entertainers, humanitarians, and loved ones, and reveals how the lessons and values they imparted have invaluably shaped his life. As enchanting and unforgettable as his music, Just Getting Started is a beautiful compilation of reflections every Bennett fan will treasure, and a perfect introduction for those just getting to know this remarkable star and humanitarian.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
LOCUS AWARD FINALIST FOR BEST ANTHOLOGY Sixteen short stories from China's groundbreaking science fiction writers, edited and translated by award-winning author Ken Liu. In Hugo award-winner Liu Cixin's ‘Moonlight,’ a man is contacted by three future versions of himself, each trying to save their world from destruction. Hao Jingfang’s ‘The New Year Train’ sees 1,500 passengers go missing on a train that vanishes into space. In the title story by Tang Fei, a young girl is shown how the stars can reveal the future. In addition, three essays explore the history and rise of Chinese science fiction publishing, contemporary Chinese fandom, and how the growing interest in Chinese SF has impacted writers who had long laboured in obscurity. By turns dazzling, melancholy and thought-provoking, Broken Stars celebrates the vibrancy and diversity of SFF voices emerging from China. Stories include: “Goodnight, Melancholy” by Xia Jia “The Snow of Jinyang” by Zhang Ran “Broken Stars” by Tang Fei “Submarines” by Han Song “Salinger and the Koreans” by Han Song “Under a Dangling Sky” by Cheng Jingbo “What Has Passed Shall in Kinder Light Appear” by Baoshu “The New Year Train” by Hao Jingfang “The Robot Who Liked to Tell Tall Tales” by Fei Dao “Moonlight” by Liu Cixin “The Restaurant at the End of the Universe: Laba Porridge" by Anna Wu “The First Emperor’s Games” by Ma Boyong “Reflection” by Gu Shi “The Brain Box” by Regina Kanyu Wang “Coming of the Light” by Chen Qiufan “A History of Future Illnesses” by Chen Qiufan Essays: “A Brief Introduction to Chinese Science Fiction and Fandom,” by Regina Kanyu Wang, “A New Continent for China Scholars: Chinese Science Fiction Studies” by Mingwei Song “Science Fiction: Embarrassing No More” by Fei Dao For more Chinese SF in translation, check out Invisible Planets. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
"China. The year is 1200. The Song Empire has been defeated in the north by invading Jurchen forces. Pushed further south, the empire is in danger of collapse and the Chinese population is furious. Now it falls to lone patriots trained in the martial arts to save China. Guo Jing's father was one such hero, killed in defence of his country. His mother was forced to flee to the edges of the empire, where Guo Jing was brought up fighting with Genghis Khan. Yang Kang, Guo Jing's sworn brother since birth, grew up to a different fate among the enemy. Enter Qiu Chuji, a Taoist priest famed for his martial prowess and burning patriotism. Enlisting the help of the eccentric band of martial artists known as the Seven Freaks of the South, he must find the two young men and train them in a way befitting the memory of their fathers, to take back China."--Provided by publisher.
Untie the string and unwrap the brown paper to reveal . . . Journal 3 Limited Edition! This 288-page book contains all of the content of the regular edition, plus all-new top-secret black light pages on real parchment; a cover with leather texture and shiny metallic pieces; a magnifying glass; a tassel bookmark; and removable photos and notes. This $150 limited edition will also include a signed note from the creator of Gravity Falls and co-writer of Journal 3, Alex Hirsch himself.
Winner of the Pulitzer Prize and a documentary from Ken Burns on PBS, this New York Times bestseller is “an extraordinary achievement” (The New Yorker)—a magnificent, profoundly humane “biography” of cancer—from its first documented appearances thousands of years ago through the epic battles in the twentieth century to cure, control, and conquer it to a radical new understanding of its essence. Physician, researcher, and award-winning science writer, Siddhartha Mukherjee examines cancer with a cellular biologist’s precision, a historian’s perspective, and a biographer’s passion. The result is an astonishingly lucid and eloquent chronicle of a disease humans have lived with—and perished from—for more than five thousand years. The story of cancer is a story of human ingenuity, resilience, and perseverance, but also of hubris, paternalism, and misperception. Mukherjee recounts centuries of discoveries, setbacks, victories, and deaths, told through the eyes of his predecessors and peers, training their wits against an infinitely resourceful adversary that, just three decades ago, was thought to be easily vanquished in an all-out “war against cancer.” The book reads like a literary thriller with cancer as the protagonist. Riveting, urgent, and surprising, The Emperor of All Maladies provides a fascinating glimpse into the future of cancer treatments. It is an illuminating book that provides hope and clarity to those seeking to demystify cancer.
