"About as close you can get to the perfect cerebral thriller: searingly smart, ridiculously funny, and fast as hell. Lexicon reads like Elmore Leonard high out of his mind on Snow Crash." —Lev Grossman, New York Times bestselling author of The Magicians and The Magician King “Best thing I've read in a long time . . . a masterpiece.” —Hugh Howey, New York Times bestselling author of Wool Stick and stones break bones. Words kill. They recruited Emily Ruff from the streets. They said it was because she's good with words. They'll live to regret it. They said Wil Parke survived something he shouldn't have. But he doesn't remember. Now they're after him and he doesn't know why. There's a word, they say. A word that kills. And they want it back . . .
Sixteen-year-old Nick and his brother, Alan, are always ready to run. Their father is dead, and their mother is crazy—she screams if Nick gets near her. She’s no help in protecting any of them from the deadly magicians who use demons to work their magic. The magicians want a charm that Nick’s mother stole—and they want it badly enough to kill. Alan is Nick’s partner in demon slaying and the only person he trusts in the world. So things get very scary and very complicated when Nick begins to suspect that everything Alan has told him about their father, their mother, their past, and what they are doing is a complete lie. . . .
A Colonial Lexicon is the first historical investigation of how childbirth became medicalized in Africa. Rejecting the “colonial encounter” paradigm pervasive in current studies, Nancy Rose Hunt elegantly weaves together stories about autopsies and bicycles, obstetric surgery and male initiation, to reveal how concerns about strange new objects and procedures fashioned the hybrid social world of colonialism and its aftermath in Mobutu’s Zaire. Relying on archival research in England and Belgium, as well as fieldwork in the Congo, Hunt reconstructs an ethnographic history of a remote British Baptist mission struggling to survive under the successive regimes of King Leopold II’s Congo Free State, the hyper-hygienic, pronatalist Belgian Congo, and Mobutu’s Zaire. After exploring the roots of social reproduction in rituals of manhood, she shows how the arrival of the fast and modern ushered in novel productions of gender, seen equally in the forced labor of road construction and the medicalization of childbirth. Hunt focuses on a specifically interwar modernity, where the speed of airplanes and bicycles correlated with a new, mobile medicine aimed at curbing epidemics and enumerating colonial subjects. Fascinating stories about imperial masculinities, Christmas rituals, evangelical humor, colonial terror, and European cannibalism demonstrate that everyday life in the mission, on plantations, and under a strongly Catholic colonial state was never quite what it seemed. In a world where everyone was living in translation, privileged access to new objects and technologies allowed a class of “colonial middle figures”—particularly teachers, nurses, and midwives—to mediate the evolving hybridity of Congolese society. Successfully blurring conventional distinctions between precolonial, colonial, and postcolonial situations, Hunt moves on to discuss the unexpected presence of colonial fragments in the vibrant world of today’s postcolonial Africa. With its close attention to semiotics as well as sociology, A Colonial Lexiconwill interest specialists in anthropology, African history, obstetrics and gynecology, medical history, religion, and women’s and cultural studies.
With 14 new definitions touching on management, healthcare, startups, manufacturing, and service, the 5th edition of the Lean Lexicon, is the most comprehensive edition yet of the handy and practical glossary for lean thinkers. The latest Lexicon, updated in 2014, contains 60+ graphics and 207 terms from A3 Report to Yokoten. The Lexicon covers such key lean terms as andon, jidoka, kaizen, lean consumption, lean logistics, pull, plan-for- every-part, standardized work, takt time, value-stream mapping, and many more. The new terms are: • Basic Stability • Coaching • Gemba Walk • Huddle • Kamishibai Board • Kata • Leader Standard Work • Lean Management • Lean Management Accounting • Lean Startup • Problem Solving • Service Level Agreement • Training Within Industry (TWI) • Value-stream Improvement Unlike most other business glossaries in print or online, the Lexicon, introduced in January 2003, is focused exclusively on lean thinking and practice. Like the past four, the fifth edition of the Lean Lexicon incorporates terms and improvement ideas from our customers. We continue to welcome suggestions from the growing lean community in its traditional industries and beyond.
To study an archive or archival materials is to encounter an affective and critical practice involved in the construction of memory. Lexicon for an Affective Archive, edited by Giulia Palladini and Marco Pustianaz, is an international collection of these encounters, offering glimpses into the intimate relations inherent in finding, remembering (or imagining), and creating an archive. Bringing together voices from a variety of fields across the humanities, performance studies, and contemporary art, and engaging in a multidisciplinary analysis, this beautifully designed and fully illustrated volume advances the idea of an "affective archive" as a useful conceptual tool--a tool which contributes to an understanding of an expanded notion of an archive and its central role in contemporary visual and performing arts. A co-publication with NInA and Live Art Development Agency.
The idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word. The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole. The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. Cymene Howe is Associate Professor in the Department of Anthropology and founding faculty of the Center for Energy and Environmental Research in the Human Sciences (CENHS) at Rice University. She is the author of Intimate Activism (Duke, 2013) and Ecologics: Wind and Power in the Anthropocene (Duke, 2019). Cymene was co-editor for the journal Cultural Anthropology and the Johns Hopkins Guide to Social Theory, and she co-hosts the weekly Cultures of Energy podcast. Anand Pandian is Associate Professor in the Department of Anthropology at Johns Hopkins University. He is author of Reel World: An Anthropology of Creation (Duke, 2015) and Crooked Stalks: Cultivating Virtue in South India (Duke, 2009), among other book, as well as the co-editor of Race, Nature and the Politics of Difference (Duke, 2003) and Crumpled Paper Boat (Duke, 2017).
"Lexicon Devil is, pure and simple, the finest volume on punk to have seen the light of print. (Yes, folks: that includes Please Kill Me.) Great book!"—Richard Meltzer Production has started on the documentary feature based on the book.
A masterpiece of European literature that blends family memoir and fiction An Italian family, sizable, with its routines and rituals, crazes, pet phrases, and stories, doubtful, comical, indispensable, comes to life in the pages of Natalia Ginzburg’s Family Lexicon. Giuseppe Levi, the father, is a scientist, consumed by his work and a mania for hiking—when he isn’t provoked into angry remonstration by someone misspeaking or misbehaving or wearing the wrong thing. Giuseppe is Jewish, married to Lidia, a Catholic, though neither is religious; they live in the industrial city of Turin where, as the years pass, their children find ways of their own to medicine, marriage, literature, politics. It is all very ordinary, except that the background to the story is Mussolini’s Italy in its steady downward descent to race law and world war. The Levis are, among other things, unshakeable anti-fascists. That will complicate their lives. Family Lexicon is about a family and language—and about storytelling not only as a form of survival but also as an instrument of deception and domination. The book takes the shape of a novel, yet everything is true. “Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt impelled at once to destroy [it],” Ginzburg tells us at the start. “The places, events, and people are all real.”
