A haunting feminist sci-fi masterpiece and international bestseller that is “as absorbing as Robinson Crusoe” (Doris Lessing) While vacationing in a hunting lodge in the Austrian mountains, a middle-aged woman awakens one morning to find herself separated from the rest of the world by an invisible wall. With a cat, a dog, and a cow as her sole companions, she learns how to survive and cope with her loneliness. Allegorical yet deeply personal and absorbing, The Wall is at once a critique of modern civilization, a nuanced and loving portrait of a relationship between a woman and her animals, a thrilling survival story, a Cold War-era dystopian adventure, and a truly singular feminist classic.
A deeply reported examination of the systemic racism inside the American financial services industry exposes practices designed to maintain the racial wealth gap, and draws on data, history, legal scholarship, and personal stories to provide a look at what it means to bank while Black.
Legend has it that twenty miles of volcanic rock rising through the landscape of northern Bohemia was the work of the devil, who separated the warring Czechs and Germans by building a wall. The nineteenth-century invention of the Devil's Wall was evidence of rising ethnic tensions. In interwar Czechoslovakia, Sudeten German nationalists conceived a radical mission to try to restore German influence across the region. Mark Cornwall tells the story of Heinz Rutha, an internationally recognized figure in his day, who was the pioneer of a youth movement that emphasized male bonding in its quest to reassert German dominance over Czech space. Through a narrative that unravels the threads of Rutha's own repressed sexuality, Cornwall shows how Czech authorities misinterpreted Rutha's mission as sexual deviance and in 1937 charged him with corrupting adolescents. The resulting scandal led to Rutha's imprisonment, suicide, and excommunication from the nationalist cause he had devoted his life to furthering. Cornwall is the first historian to tackle the long-taboo subject of how youth, homosexuality, and nationalism intersected in a fascist environment. "The Devil's Wall" also challenges the notion that all Sudeten German nationalists were Nazis, and supplies a fresh explanation for Britain's appeasement of Hitler, showing why the British might justifiably have supported the 1930s Sudeten German cause. In this readable biography of an ardent German Bohemian who participated as perpetrator, witness, and victim, Cornwall radically reassesses the Czech-German struggle of early twentieth-century Europe.
“Verde’s unique style and simple yet increasingly important messages of peace, mindfulness, and community make her stories a must-share...A must-purchase.” —School Library Journal (starred review) “Walls do not just create barriers and divide spaces. They can be canvases for artmaking; opportunities to shape a community.” —The Horn Book “This story of urban renewal sends a welcome double message by Verde: neighbors and neighborhoods are more than the way they look, and ordinary people can band together to transform big things.” —Publishers Weekly A boy takes on a community art project in order to make his neighborhood more beautiful in this empowering and inspiring picture book by Susan Verde, stunningly illustrated by award-winning artist John Parra. One creative boy. One bare, abandoned wall. One BIG idea. There is a wall in Ángel’s neighborhood. Around it, the community bustles with life: music, dancing, laughing. Not the wall. It is bleak. One boy decides to change that. But he can’t do it alone. Told in elegant verse by Susan Verde and vibrantly illustrated by John Parra, this inspiring picture book celebrates the power of art to tell a story and bring a community together.
It was a dark and stormy night in Santa Barbara. January 19, 2017. The next day’s inauguration drumroll played on the evening news. Huddled around a table were nine Corwin authors and their publisher, who together have devoted their careers to equity in education. They couldn’t change the weather, they couldn’t heal a fractured country, but they did have the power to put their collective wisdom about EL education upon the page to ensure our multilingual learners reach their highest potential. Proudly, we introduce you now to the fruit of that effort: Breaking Down the Wall: Essential Shifts for English Learners’ Success. In this first-of-a-kind collaboration, teachers and leaders, whether in small towns or large urban centers, finally have both the research and the practical strategies to take those first steps toward excellence in educating our culturally and linguistically diverse children. It’s a book to be celebrated because it means we can throw away the dark glasses of deficit-based approaches and see children who come to school speaking a different home language for what they really are: learners with tremendous assets. The authors’ contributions are arranged in nine chapters that become nine tenets for teachers and administrators to use as calls to actions in their own efforts to realize our English learners’ potential: 1. From Deficit-Based to Asset-Based 2. From Compliance to Excellence 3. From Watering Down to Challenging 4. From Isolation to Collaboration 5. From Silence to Conversation 6. From Language to Language, Literacy, and Content 7. From Assessment of Learning to Assessment for and as Learning 8. From Monolingualism to Multilingualism 9. From Nobody Cares to Everyone/Every Community Cares Read this book; the chapters speak to one another, a melodic echo of expertise, classroom vignettes, and steps to take. To shift the status quo is neither fast nor easy, but there is a clear process, and it’s laid out here in Breaking Down the Wall. To distill it into a single line would go something like this: if we can assume mutual ownership, if we can connect instruction to all children’s personal, social, cultural, and linguistic identities, then all students will achieve.
In the bleak, forbidding house of her great-aunts, neglected twelve-year-old orphan Maggie hears ghostly voices and finds magic that awakens in her the capacity to love and be loved.
Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel. Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.
A foolish knight is certain that his side of the wall is the safe side in this clever, amusingly meta picture book by the acclaimed creator of It's Only Stanley There's a wall in the middle of the book, and our hero--a young knight--is sure that the wall protects his side of the book from the dangers of the other side--like an angry tiger and giant rhino, and worst of all, an ogre who would gobble him up in a second! But our knight doesn't seem to notice the crocodile and growing sea of water that are emerging on his side. When he's almost over his head and calling for help, who will come to his rescue? An individual who isn't as dangerous as the knight thought--from a side of the book that might just have some positive things to offer after all!
A Southern Living Best New Book of Winter 2019; A Refinery29 Best Book of January 2019; A Most Anticipated Book of 2019 at The Week, Huffington Post, Nylon, and Lit Hub; An Indie Next Pick for January 2019 “Ghost Wall has subtlety, wit, and the force of a rock to the head: an instant classic.” —Emma Donoghue, author of Room "A worthy match for 3 a.m. disquiet, a book that evoked existential dread, but contained it, beautifully, like a shipwreck in a bottle.” —Margaret Talbot, The New Yorker A taut, gripping tale of a young woman and an Iron Age reenactment trip that unearths frightening behavior The light blinds you; there’s a lot you miss by gathering at the fireside. In the north of England, far from the intrusions of cities but not far from civilization, Silvie and her family are living as if they are ancient Britons, surviving by the tools and knowledge of the Iron Age. For two weeks, the length of her father’s vacation, they join an anthropology course set to reenact life in simpler times. They are surrounded by forests of birch and rowan; they make stew from foraged roots and hunted rabbit. The students are fulfilling their coursework; Silvie’s father is fulfilling his lifelong obsession. He has raised her on stories of early man, taken her to witness rare artifacts, recounted time and again their rituals and beliefs—particularly their sacrifices to the bog. Mixing with the students, Silvie begins to see, hear, and imagine another kind of life, one that might include going to university, traveling beyond England, choosing her own clothes and food, speaking her mind. The ancient Britons built ghost walls to ward off enemy invaders, rude barricades of stakes topped with ancestral skulls. When the group builds one of their own, they find a spiritual connection to the past. What comes next but human sacrifice? A story at once mythic and strikingly timely, Sarah Moss’s Ghost Wall urges us to wonder how far we have come from the “primitive minds” of our ancestors.
