Part of Alma’s 101 Pages series, The Story of a Nobody bears all the hallmarks of Chekhov’s genius. Unique edition ‘revived in this sure-footed translation by Hugh Aplin’
Author of the popular BookTok series The Inheritance GamesJennifer Lynn Barnes introduces us to . . . Nobody. There are people in this world who are Nobody. No one sees them. No one notices them. They live their lives under the radar, forgotten as soon as you turn away. That's why they make the perfect assassins. The Institute finds these people when they're young and takes them away for training. But an untrained Nobody is a threat to their organization. And threats must be eliminated. Claire has been invisible her whole life, missed by the Institute's monitoring. But now they've ID'ed her and have sent Nix to remove her. Yet the moment Nix lays eyes on her, he can't make the hit. It's as if Claire and Nix are the only people in the world for each other. And they are—because no one else can really see them.
Thomas feels like no matter what he does, he can’t escape Kyle’s persistent bullying. At school, at soccer—nowhere feels safe! “Mom said Kyle would grow over the summer and stop picking on me, but he didn’t grow up, he just grew.” With support from friends, classmates, and adults, Thomas starts to feel more confident in himself and his hobbies, while Kyle learns the importance of kindness to others. The book concludes with “activity club” pages for kids, as well as information to help parents, teachers, counselors, and other adults foster dialogue with children about ways to stop bullying.
The subject of this modern classic is not a man. "It is an event," says Jules Romains, who is considered "the French Dos Passos." The event starts with the death of Jacques Godard, a man of no importance. It unfolds through his brief survival in the minds of others - the porter of his tenement in Paris, his fellow lodgers, a few acquaintances, his old father, who comes up from the country for the funeral, a young stranger who feels that the dead pass into "a great soul that cannot die." The event expresses Romains's belief in "collective beings," the famous theory of "Unanimism." In dramatizing his theory, Romains developed an advanced motion-picture technique when films were in their infancy, a technique of group portraits and sudden shifts from scene to scene that keeps this work far ahead of conventional novels. Here, Romains explores the ideas and the devices used in his twenty-seven-volume masterpiece, Men of Good Will, which André Maurois calls "the boldest attempt to describe completely his own time that any French novelist has made since Balzac."
He wants to remember. She needs to forget. . . . Memento meets Sharp Objects in a gripping psychological thriller from the New York Times bestselling author of Something in the Water and The Disappearing Act. “Twisty . . . highly imaginative . . . deliciously provocative.”—The Washington Post Who is Mr. Nobody? When a man is found on a British beach, drifting in and out of consciousness, with no identification and unable to speak, interest in him is sparked immediately. From the hospital staff who find themselves inexplicably drawn to him, to international medical experts who are baffled by him, to the national press who call him Mr. Nobody, everyone wants answers. Who is this man? And what happened to him? Some memories are best forgotten. Neuropsychiatrist Dr. Emma Lewis is asked to assess the patient in a small town deep in the English countryside. This is her field of expertise, this is the chance she’s been waiting for, and this case could make her name known across the world. But therein lies the danger. Emma left this same town fourteen years ago and has taken great pains to cover all traces of her past since then. Places aren't haunted . . . people are. But now something—or someone—is calling her back. And the more time she spends with her patient, the more alarmed she becomes that he knows the one thing about her that nobody is supposed to know.
Fifteen-year-old Webber was driving a car that hit a little girl who now may never walk again, and Webber's grandfather wants to claim that he was driving, not Webber.
Still reeling from the scandal that cost him his badge, Randy Mayhill—fallen lawman, dog rescuer, Dr Pepper enthusiast—sees a return from community exile in the form of a dead hog trapper perched on a fence. The fence belongs to the late Van Woods, Mayhill’s best friend and the reason for his spectacular fall. Determined to protect Van’s land and family from another scandal, Mayhill ignores the sherriff who replaced him and investigates the death of the unidentified man. His quest crosses with two others: Birdie, Van’s surly, mourning daughter, who has no intention of sitting idly by and leaving her father’s legacy in Mayhill’s hands; and Bradley, Birdie’s slow, malnourished but loyal friend, whose desperation to escape a life of poverty has him working with local criminals, and possibly a murderer. A riveting debut novel about family and loyalty, old grudges and new lives, AIN’T NOBODY NOBODY is like a cross between Faulkner and “Breaking Bad”, from a talented new writer with an authentic Texas voice.
Exploring the careers of five influential women writers of the Restoration and eighteenth century, Catherine Gallagher reveals the connections between the increasing prestige of female authorship, the economy of credit and debt, and the rise of the novel. The "nobodies" of her title are not ignored, silenced, or anonymous women. Instead, they are literal nobodies: the abstractions of authorial personae, printed books, intellectual property rights, literary reputations, debts and obligations, and fictional characters. These are the exchangeable tokens of modern authorship that lent new cultural power to the increasing number of women writers through the eighteenth century. Women writers, Gallagher discovers, invented and popularized numerous ingenious similarities between their gender and their occupation. The terms "woman," "author," "marketplace," and "fiction" come to define each other reciprocally. Gallagher analyzes the provocative plays of Aphra Behn, the scandalous court chronicles of Delarivier Manley, the properly fictional nobodies of Charlotte Lennox and Frances Burney, and finally Maria Edgeworth's attempts in the late eighteenth century to reform the unruly genre of the novel. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. Exploring the careers of five influential women writers of the Restoration and eighteenth century, Catherine Gallagher reveals the connections between the increasing prestige of female authorship, the economy of credit and debt, and the rise of the novel.