In 1933, Gertrude Stein published her groundbreaking memoir The Autobiography of Alice B. Toklas, which gained her instant celebrity. The following year she was invited to return to the United States for the first time since she left for France in 1903, to give a series of lectures on art and literature. Newly famous, Stein delivered her lectures, which double as a manifesto for her own, notoriously difficult work, to packed audiences at universities, galleries, members clubs and public spaces up and down the country. The lectures are vital and provocative works which articulate the legendary writers thoughts on the effect of modernism on literary form, the relationship between narrative and history, and between a writer, their work and its audience. In her trademark style she meditates on the creative possibilities of repetition, as well as her ambivalence toward her own literary fame and the destabilizing effect that notoriety had on her daily life. Listen to Me brings Steins sparklingly witty, illuminating lectures together in one volume for the first time, selected and introduced by her acclaimed biographer, Francesca Wade.

Museums are anything but wild. Historically, museums have functioned as key sites for the production of boundaries between nature and culture. Nature might be presented in form and image, but its processes must not be allowed to take hold within museum architecture. In a warming world, climate-controlled interiors are increasingly vulnerable to floods, fires, and power failures. In an effort to address environmental crises, artists chop through walls, fill them with dirt, and bring in insects, plants, and animals, while others leave the institution altogether to embrace the specificity of site. Audiences are drawn outside and off-screen, into zones that recalibrate norms of aesthetic attention. Rewilding the Museum explores a paradox that also lurks at the heart of restoration ecology: We cannot return to past fantasies of "nature." Rather, we must foster ecologies that support biodiversity and stable geophysical cycles. This book asks how artists and curators are working with and against exhibition infrastructures to elaborate contemporary ideas of nature.

Museums are anything but wild. Historically, museums have functioned as key sites for the production of boundaries between nature and culture. Nature might be presented in form and image, but its processes must not be allowed to take hold within museum architecture. In a warming world, climate-controlled interiors are increasingly vulnerable to floods, fires, and power failures. In an effort to address environmental crises, artists chop through walls, fill them with dirt, and bring in insects, plants, and animals, while others leave the institution altogether to embrace the specificity of site. Audiences are drawn outside and off-screen, into zones that recalibrate norms of aesthetic attention. Rewilding the Museum explores a paradox that also lurks at the heart of restoration ecology: We cannot return to past fantasies of "nature." Rather, we must foster ecologies that support biodiversity and stable geophysical cycles. This book asks how artists and curators are working with and against exhibition infrastructures to elaborate contemporary ideas of nature.

How Engaging Horror Helps Us Fear Rightly Is it possible to be scaredin a good way? In Be Afraid, theologian and psychological scientist Kutter Callaway explores the surprising relationship between fear, horror, and Christian faith. Drawing from film, psychology, and theology, this book engages popular horror narratives to ask what our deepest fears reveal about what we truly love, long for, and believe.Be Afraid explores how our Christian faith is made better when we engage with the horror genre. According to Callaway, Christian life isnt about eliminating fear, its about redirecting it. This book offers a fresh, often funny, and deeply honest theological reflection on the shared fears and anxieties of our culture that is as engaging in a classroom as it is in a book club.By exploring the genre of horror through the lens of Christian faith, Be Afraid: demonstrates how that faith is enriched by engaging with horror; offers theological insight into our cultures fascination with the terrifying; helps readers learn how to redeem real world fears; and includes discussion questions for individual or group reflection. Scripture itself contains many stories filled with horror and gore: Jael and Sisera, John the Baptists beheading, and even the crucifixion of Jesus. Be Afraid argues that engaging with horror storieswhether in the media or in the Biblecan benefit our spiritual lives by teaching us how to fear rightly.The Bible calls on Christians to think about what is good, beautiful, and true. And sometimes, the truth is horrifying.About the Series The Discovering God in Pop Culture series seeks to demonstrate how Christian faith is enriched and made better by critical and creative engagement with pop culture. In each volume, readers explore a popular topic through the lens of the Christian faith.

The Death of the Clinic: Radical Experiments in the Art of Medicine weaves together biography, history and personal reflection in a groundbreaking exploration of five experimental clinics in recent Western history. A sex clinic housed in a stately mansion in Weimar Berlin. A preventive health centre in pre-NHS London. A radical institute of psychiatry and medical philosophy in a post-war French chateau. A feminist health centre born from the womens liberation movement in Geneva. A grassroots research initiative featuring clinical trials run by and for people with AIDS in 1980s-90s New York. Each of these clinics emerged in response to seismic political shifts and era-defining global events yet at their heart lie the stories of extraordinary individuals who dared to reimagine how we care for one another. At once deeply personal and sharply analytical, Benoit Loiseaus investigation is anchored in his own encounters with medical care and in the quiet influence of one health worker who shaped his life: his mother. In moving and reflective interludes addressed to her, Loiseau illuminates the emotional and ethical stakes of medicine today. Reframing Michel Foucaults seminal text, The Death of the Clinic is a radical invitation to reimagine the clinic not as a fixed institution, but as a living, evolving practice rooted in care, resistance and collective imagination.

As a young writer of blazing promise, Felix Hartlaub went missing in the final days of the Second World War, leaving behind diaries, notes and incomplete drafts that provide a singularly evocative portrait of life in wartime.From 1941, Hartlaub was posted in various Nazi military command headquarters, a historian tasked with writing the Wehrmachts official record of the war. In private, he wrote the disaffected, ruthlessly clear-eyed and often beautiful fragments that make up Notes from Fuhrer HQ, now translated into English for the first time by the acclaimed Michael Hofmann.Moving from a strangely bucolic barracks in Ukraine to tense bureaucratic headquarters on the Eastern Front to the bizarre, seedy micro-climate of a command train, these dispatches conjure the absurdity and turmoil of life within Hitlers war machine through the eyes of a remarkably perceptive, disabused observer.

Both as a novelist and as a screenwriter, Courttia Newland has found himself, through circumstance or choice, in a place of opposition to the commercial mainstream. Now, aged 50, he reflects on what it means to be an artist operating in the margins and shares his experiences and observations for those facing similar hurdles and choices. Newland covers key aspects of creating beyond the mainstream, including centring your own voice; which voices are allowed full freedom of artistic expression and which are not; the importance of reading outside of the white Western canon; and the impact of success on marginalised creatives work. Alongside his own observations and experiences, he explores the work of - and in some instances interviews - other oppositional artists, including Percival Everett, Lou Mensah, Iain Banks, Roots Manuva, Rudolph Kizerman and more. The result is a startling provocation, and a galvanising vindication of refusing to conform.

Throughout 2024, Samar Yazbek met with hundreds of survivors from Gaza asking each one of them about their experience of October 7, 2023, and what their life has been like since that pivotal date. She has selected twenty-six of these narratives to share with the world. Yazbek captures the raw, chilling accounts of ordinary civilians aged thirteen to sixty-five, who have witnessed what history may one day remember as one of the most savage military offensives of our time. Their stories reveal a nightmarish dystopia, where each survivor has endured unimaginable loss homes shattered, loved ones vanished, limbs obliterated and many have been treated in hospitals ravaged by Israeli attacks. But these survivors remain determined to share their stories, and cling to the hope that their voices will resonate. The title, Your Presence Is a Danger to Your Life, is adapted from one of the flyers dropped on the residents of Gaza minutes before a bombing.

When Brian Dillon was sixteen his mother died and he simply gave up all schoolwork. While he courted exam failure, his real education was going on elsewhere: with books, music, films and television. When at last he made it to university, his head was already full of avant-garde writing, art and ideas. Could academia live up to the hopes and dreams he had invested in it? Halfway through college his father died, and the stakes of reading and writing seemed even higher. Ambivalence explores what learning meant to its author, what it enabled and denied, between the ages of seventeen and twenty-six, when he left his native Dublin. Its at once a memoir of that city in the 1980s and 1990s, an uncynical portrait of the adolescent and early-adult mind, and an intimate defence of radical thinking about literature and life. In vivid present-tense fragments, Dillon describes his first encounters with writers such as Virginia Woolf, Walter Benjamin, Samuel Beckett, Roland Barthes and Jacques Derrida. He recalls being seduced by ambivalence, ambiguity and androgyny on the page and in the life he hoped his reading would transfigure. The era he describes seemed to demand new ways of thinking about aesthetics and politics. Today, when rights are fragile, arts and humanities attacked, and students dismissed as radicals or narcissists, Ambivalence is an argument for the poetic and revolutionary force of changing yourself and even the world by changing what you know.

O Rio de Fernando Sabino é um guia que conduz o leitor por dezesseis Caminhos Sabinianos, revelando o Rio de Janeiro onde o escritor mineiro de Belo Horizonte viveu durante 56 de seus 80 anos. Em sua companhia, percorremos dezesseis bairros ao longo de seis decadas da Zona Norte a Zona Sul, passando pelo Centro, Copacabana, Ipanema, Botafogo, Flamengo, Gloria, Catete, Cosme Velho, Leme, Gavea, Lagoa, Jardim Botanico, Leblon, Lapa, Estacio e Maracan. De bonde, de onibus, de carro ou a pe, o Rio se deixa ver sob diferentes angulos.Fernando Sabino circula sozinho, com amigos ou com os filhos, por praias, livrarias, restaurantes, bares, boates, botequins, igrejas, bancas de jornal, editoras, galerias, estadios, cinemas, clubes, praças e edificios. O volume reune citaçes extraidas da obra do autor e inclui mapas e fotos de epoca que oferecem um mergulho no Rio de ontem e de hoje, em delicada sintonia com o ensaio fotografico de Daniel Ramalho.Este e o segundo volume da serie "O Rio da Literatura", idealizada por Teresa Montero e inaugurada com "O Rio de Clarice", em 2018.

Fraud is big business: not only is it one of the easiest crimes to commit, but its also one with the most lenient punishments. So how can we put a stop to it, how can we protect ourselves, and what new dangers do we need to be looking out for?Deeply researched and filled with expert testimony, The Future of Fraud explores interesting fraud cases past and present, from the first officially recorded case of a Greek sea merchant attempting to commit insurance fraud in 300 BC, to todays sophisticated technology perfectly poised to exploit via social media, the dark web, gaming, cryptocurrency and artificial intelligence.The only way to tackle the fraud epidemic, argues Holmes, is head on, via education, language, technology and regulation. We need everyone to understand the dangers and have protections in place to stop the bad guys. Are we fighting a losing battle, or can we make the future a safer place for all?

Em nove textos repletos de verdadeiras iluminações sobre o ato da escrita, e a partir da leitura de autores clássicos e contemporâneos, o autor investiga o que sustenta a formação de uma voz literári

In August 1939, a ship flying the Polish flag docked in Buenos Aires. On board was a delegation of businessmen, diplomats and journalists. Days later, the captain received orders to return home with all crew and passengers in light of the imminent outbreak of the Second World War. But one man, fascinated by the city, chose to stay at the very last minute. Thus began the unexpected twenty-four-year Argentine exile of one of the twentieth centurys major writers: Witold Gombrowicz. Drawing on his writings and interviews with surviving disciples, writers and scholars, Mercedes Halfons Outsider Everywhere traces Gombrowiczs Argentine years in elegant, pared-back prose, and composes a vivid account of mid-century bohemia in Buenos Aires. Brilliantly translated by Rahul Bery, Mercedes Halfons Outsider Everywhere is a gripping portrait of a literary figure on the margins who rose to prominence late in life to become one of the greatest novelists of our century (Milan Kundera).

En este breve pero lúcido y apasionante ensayo, László F. Földényi se refiere al oscuro destierro de Dostoyevski y plantea cómo el gran narrador ruso habría sido capaz de observar con agudeza crítica

Un manifiesto para devolver al aula el poder de custodiar lo inesperado.Este libro es un manifiesto contra la domesticación educativa y la lógica mercantilista que asfixia la enseñanza. Carlos Javier Gonzalez Serrano defiende el aula como espacio sagrado no por devocion, sino por su capacidad de custodiar lo inesperado donde el silencio, la pausa y la atencion desafian la prisa y la uniformidad. Con un lenguaje que entrelaza filosofia, mistica y experiencia docente, el autor denuncia el secuestro de los tiempos educativos, la mercantilizacion emocional y la infantilizacion pedagogica, y propone una educacion que realme el mundo: que despierte el deseo de aprender, fomente la libertad y recupere la belleza como horizonte. Un libro para quienes creen que enseñar no es adiestrar, sino abrir caminos hacia lo inedito.

Un bellísimo y sentido homenaje al enigmático Roberto Bazlen.Bobi es Roberto Bazlen, el lector agudísimo e implacable, el escritor esquivo y sigiloso, el triestino que vivió en Milán y Roma, el gran enigma de las letras italianas. Una ventana abierta de par en par hacia un mundo nuevo, como lo califico Eugenio Montale. El hombre inasible, un huracan silencioso, penetrante, carente de indulgencia, milimetrico, tal como apunta el autor, su amigo y complice. Porque Bobi Bazlen fue, junto con Roberto Calasso, una de las almas fundacionales de la exquisita editorial Adelphi.

«Una pequeña idea malévola es un libro delicioso, porque leer a Ena Lucía Portela es como mirarse al espejo y advertir que nuestro reflejo nos guiña un ojo».FERNANDO IWASAKIEn uno de los poemas de Lo

En este libro, Fernández Mallo aborda una originalísima idea, la unión de la Inteligencia Artificial con los ángeles caídos, para sacar a la luz multitud de insospechados resultados, caminos e ideas que cambian la forma de ver las Inteligencias Artificiales. Una vez mas, Fernandez Mallo nos abre una puerta que estaba sin abrir. Con la ductil y comprensible combinacion de campos del saber a la que nos tiene acostumbrados, explora todo ello desde la fisica, la antropologia, la metafisica y la teologia, proponiendo un nuevo marco de pensamiento para la IA. Y es que cuando hablamos de Inteligencia Artificial estamos ya partiendo de un abuso del lenguaje, de una "metafora consentida" -la IA ni es inteligente ni es propiamente artificial-, pero lo que si sabemos con seguridad es que nuestro empeño por crear algo que como humanos nos supere se encuentra ya larvado en el origen del Homo sapiens, en una pulsion libidinal que se halla directamente relacionada con nuestro eterno deseo de crear un dios: pretendemos crear una definitiva IA por el mismo motivo por el que levantamos sistemas religiosos y divinidades a las que pedimos que nos solucionen los problemas. El discurso social atribuido a la IA responde asi a un sistema de creencias religiosas, uno mas en la larga lista que antropologicamente nos ha conformado como seres humanos.

Los secretos de diez grandes clásicos de la literatura, explicados por un maestro de la narrativa.A finales de los años cuarenta del siglo pasado, el director de una revista literaria norteamericana pidio al ya celebre escritor britanico William Somerset Maugham que elaborase una lista con las, segun el, diez mejores novelas de la literatura universal. La sugerente lista que Maugham ofrecio como respuesta dio pie, poco despues, a que el propio autor escribiera los memorables ensayos sobre el arte de la ficcion que componen este volumen. Maugham comienza cada capitulo con un delicioso retrato de la vida y el ambiente en que se movieron escritores de la talla de Fielding, Stendhal, Melville o Tolstoi. Sigue un original analisis de estas novelas ya clasicas (entre las que se cuentan Orgullo y prejuicio, David Copperfield, Cumbres borrascosas o Los hermanos Karamazov), realizado con humor, ironia y, sobre todo, con la pericia de quien conoce el oficio de escritor desde dentro. Porque, a traves de estos ensayos, Maugham nos brinda las claves para descubrir como se crea un personaje, como se mantiene la intensidad narrativa o cual es el mejor punto de vista para relatar un asunto literario. Por ultimo, apunta Maugham, el lector debe poner algo de su parte para que se cumpla el pacto literario: al menos, ha de poseer suficiente imaginacion para ser capaz de interesarse por la vida, las alegrias y las penas, las tribulaciones, los peligros y las aventuras de los personajes.

Embora minha vida — como todas as vidas — seja uma história, ela não daria um livro. Seria, mais ou menos, assunto para uma conversa com outras vidas.E foi o que resolvi fazer: escrevi o que me vinha