NATIONAL BESTSELLER • “Vintage Anne Rice—a lushly written, gothic … metaphysical tale. This time, with werewolves.” —The Wall Street Journal When Reuben Golding, a young reporter on assignment, arrives at a secluded mansion on a bluff high above the Pacific, it’s at the behest of the home’s enigmatic female owner. She quickly seduces him, but their idyllic night is shattered by violence when the man is inexplicably attacked—bitten—by a beast he cannot see in the rural darkness. It will set in motion a terrifying yet seductive transformation that will propel Reuben into a mysterious new world and raise profound questions. Why has he been given the wolf gift? What is its true nature—good or evil? And are there others out there like him?
Depression is an experience known to millions. But arguments rage on aspects of its definition and its impact on societies present and past: do drugs work, or are they merely placebos? Is the depression we have today merely a construct of the pharmaceutical industry? Is depression under- or over-diagnosed? Should we be paying for expensive 'talking cure' treatments like psychoanalysis or Cognitive Behavioural Therapy? Here, Clark Lawlor argues that understanding the history of depression is important to understanding its present conflicted status and definition. While it is true that our modern understanding of the word 'depression' was formed in the late nineteenth and early twentieth centuries, the condition was originally known as melancholia, and characterised by core symptoms of chronic causeless sadness and fear. Beginning in the Classical period, and moving on to the present, Lawlor shows both continuities and discontinuities in the understanding of what we now call depression, and in the way it has been represented in literature and art. Different cultures defined and constructed melancholy and depression in ways sometimes so different as to be almost unrecognisable. Even the present is still a dynamic history, in the sense that the 'new' form of depression, defined in the 1980s and treated by drugs like Prozac, is under attack by many theories that reject the biomedical model and demand a more humanistic idea of depression - one that perhaps returns us to a form of melancholy.
Clara’s at a breaking point. She’s got writer’s block, her friends ask a lot without giving much, her psychologist is useless, and her demanding publishing job leaves little time for self care. She seeks solace in the community around her, yet, while her friends provide support and comfort, she is often left feeling empty, unable to express an underlying depression that leaves her immobilized and stifles any attempts at completing her poetry collection. In This is How I Disappear, Mirion Malle paints an empathetic portait of a young woman wrestling with psychological stress and the trauma following an experience of sexual assault. Malle displays frankness and a remarkable emotional intelligence as she explores depression, isolation, and self-harm in her expertly-drawn novel. Her heroine battles an onslaught of painful emotions and while Clara can provide consolation to those around her, she finds it difficult to bestow the same understanding unto herself. Only when she allows her community to guide her towards self-love does she find relief. Filled with 21st century idioms and social media communication, This Is How I Disappear opens a window into the lives of young people as they face a barrage of mental health hurdles. Scenes of sisterhood, fun nights out singing karaoke, and impromptu FaceTime therapy sessions show how this generation is coping, connecting, and healing together.
Violet Ambrose is grappling with two major issues: Jay Heaton and her morbid secret ability. While the sixteen-year-old is confused by her new feelings for her best friend, she is more disturbed by her "power" to sense dead bodies - or at least those that have been murdered. Since she was a little girl, she has felt the echoes the dead leave behind in the world...and the imprints that attach to their killers. Violet has never considered her strange talent to be a gift, but now that a serial killer is terrorizing her small town Violet realizes she might be the only person who can stop him. Despite his fierce protectiveness over her, Jay reluctantly agrees to help Violet find the murderer - and Violet is unnerved by her hope that Jay's intentions are much more than friendly. But even as she's falling in love, Violet is getting closer to discovering a killer...and becoming his prey herself.
4,000 square foot of blue-flecked linoleum is decorated with maps of the world... This random patchwork, traversed by thousands of people scuffing its surface, is slowly being worn away, the floor underneath emerging as new oceans eroding the graphic landmass. Fallen sticky price labels and other detritus settle across an ever-evolving cartography formed by human footfall. In 2018 and 2019 Helen Sear spent several weeks in Durham North Carolina inside the vast warehouse premises of The Scrap Exchange, an organisation dedicated to re-diverting surplus materials from landfill and creating environmental awareness and community through reuse. Constructing a makeshift studio on the shop floor she invited visitors to have their portraits taken, photographed hands holding chosen objects, sometimes recording brief conversations. Photographing strangers in the formal style of studio portraiture enabled a momentary stillness and connection amid the agitation of peripheral vision overload.
This book contains the memoirs of Stendahl or in his own words the 'chatter about his private life' between 1821 and 1830. It was between these dates that he moved to Paris and here looks back on his life as an eccentric bachelor. 'As well as Beyle the clairvoyant self-investigator, the sardonic analyst of Parisian salon society and deliberate cultivator of wit, here emerges Beyle the despairing lover, the shakespearean enthusiast, whose romantic sentiment run always parallel with his eighteenth-century logic'. Marie-Henri Beyle - better-known by his pen name, Stendhal - was born in Grenoble, France in 1783. He turned to writing after the final defeat of Napoleon in 1815, notable works include A Life of Rossini (1824), A Life of Napoleon (1929) and The Red and the Black published in 1830. A number of works were published posthumously, including Lamiel (1889), Memoirs of an Egotist (1892) and Lucien Leuwen (1894). Stendhal is now regarded as one of the earliest and foremost practitioners of literary realism.
This textbook includes all 13 chapters of Français interactif. It accompanies www.laits.utexas.edu/fi, the web-based French program developed and in use at the University of Texas since 2004, and its companion site, Tex's French Grammar (2000) www.laits.utexas.edu/tex/ Français interactif is an open acess site, a free and open multimedia resources, which requires neither password nor fees. Français interactif has been funded and created by Liberal Arts Instructional Technology Services at the University of Texas, and is currently supported by COERLL, the Center for Open Educational Resources and Language Learning UT-Austin, and the U.S. Department of Education Fund for the Improvement of Post-Secondary Education (FIPSE Grant P116B070251) as an example of the open access initiative.