Muthanna, also known as mirror writing, is a compelling style of Islamic calligraphy composed of a source text and its mirrored image placed symmetrically on a horizontal or vertical axis. This style elaborates on various scripts such as Kufi, naskh, and muqahhaq through compositional arrangements, including doubling, superimposing, and stacking. Muthanna is found in diverse media, ranging from architecture, textiles, and tiles to paper, metalwork, and woodwork. Yet despite its centuries-old history and popularity in countries from Iran to Spain, scholarship on the form has remained limited and flawed. Muthanna/Mirror Writing in Islamic Calligraphy provides a comprehensive study of the text and its forms, beginning with an explanation of the visual principles and techniques used in its creation. Author Esra Akın-Kıvanç explores muthanna's relationship to similar forms of writing in Judaic and Christian contexts, as well as the specifically Islamic contexts within which symmetrically mirrored compositions reached full fruition, were assigned new meanings, and transformed into more complex visual forms. Throughout, Akın-Kıvanç imaginatively plays on the implicit relationship between subject and object in muthanna by examining the point of view of the artist, the viewer, and the work of art. In doing so, this study elaborates on the vital links between outward form and inner meaning in Islamic calligraphy.

NEW YORK TIMES BESTSELLER • “From The New Yorker’s beloved cultural critic comes a bold, unflinching collection of essays about self-deception, examining everything from scammer culture to reality television.”—Esquire Book Club Pick for Now Read This, from PBS NewsHour and The New York Times • “A whip-smart, challenging book.”—Zadie Smith • “Jia Tolentino could be the Joan Didion of our time.”—Vulture FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE’S JOHN LEONARD PRIZE FOR BEST FIRST BOOK • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK PUBLIC LIBRARY AND HARVARD CRIMSON AND ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • Time • Chicago Tribune • The Washington Post • NPR • Variety • Esquire • Vox • Elle • Glamour • GQ • Good Housekeeping • The Paris Review • Paste • Town & Country • BookPage • Kirkus Reviews • BookRiot • Shelf Awareness Jia Tolentino is a peerless voice of her generation, tackling the conflicts, contradictions, and sea changes that define us and our time. Now, in this dazzling collection of nine entirely original essays, written with a rare combination of give and sharpness, wit and fearlessness, she delves into the forces that warp our vision, demonstrating an unparalleled stylistic potency and critical dexterity. Trick Mirror is an enlightening, unforgettable trip through the river of self-delusion that surges just beneath the surface of our lives. This is a book about the incentives that shape us, and about how hard it is to see ourselves clearly through a culture that revolves around the self. In each essay, Tolentino writes about a cultural prism: the rise of the nightmare social internet; the advent of scamming as the definitive millennial ethos; the literary heroine’s journey from brave to blank to bitter; the punitive dream of optimization, which insists that everything, including our bodies, should become more efficient and beautiful until we die. Gleaming with Tolentino’s sense of humor and capacity to elucidate the impossibly complex in an instant, and marked by her desire to treat the reader with profound honesty, Trick Mirror is an instant classic of the worst decade yet. FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY

Even though Specific Reading Disability (Dyslexia) has been clinically recognized as a developmental learning disorder for nearly a hundred years. only within the past two decades it has become the subject of major experimental investigation. Because. by definition. dyslexic children are of average or superior intelligence. it is often suspected that some arcane feature of the written language is responsible for the inordinate difficulty experienced by these children in learning to read. The occasional claim that developmental dyslexia is virtually nonexistent in some languages coupled with the fact that languages differ in their writing systems has further rendered orthography a subject of serious investigation. The present Volume represents a collection of preliminary reports of investigations that explored the relationship between orthography and reading disabilities in different languages. Even though not explicitly stated. these reports are concerned with the question whether or not some orthographies are easier to learn to read and write than others. One dimension on which orthographies differ from each other is the kind of relationship they bear to pronunciation. The orthographies examined in this book range from the ones that have a simple one-to one grapheme-phoneme relationship to those which have a more complex relationship.

Some may say that this book is long overdue; others, including myself, will state that the book appears atjust the right time. The latter is likely more true, for it is doubtful that many in the professions would, until now, link issues of learning disabilities with those of neurophysiological dysfunction in the manner in which ultimately must be the case. As a matter of fact, there are those who deny the relationship completely. Lee Wiederholt (1974)1 in his short, but excellent, review of the historical perspectives of learning disabilities, traces the early interest in this problem to the work of Gall (1802), and to his successors Broca (1861), Jackson (1864), Bastian (1869), and a few others. Each of these men would, at the time of this writing, be considered to have interests in the field of neurology, although at the time of their investigations, neurology per se was but a gleam in the eye of the anatomical beholder. A relative detour then took place. Cerebral palsy, in the decades of the 1940s and 1950s, caught the attention of researchers through the work of Winthrop Morgan Phelps (orthopedist) and George Deaver (physiatrist) and one or two other medically oriented individuals. This was related to the writings of W. J. Little (1810-1894). It was, however, Kurt Goldstein, Heinz Wemer, both eminent German scientists, and Alfred A.

A powerful secret and a fresh approach to writing bestselling fiction! What's the best way to write a "next level" novel? Some writers start at the beginning and let the story unfold without a plan. They are called "pantsers," because they write by the "seat of the pants." Other writers plan and outline and know the ending before they start. These are the "plotters." The two sides never seem to agree with each other on the best approach. But what if it's not the beginning or the end that is the key to a successful book? What if, amazing as it may seem, the place to begin writing your novel is in the very middle of the story? According to #1 bestselling writing teacher James Scott Bell, that's exactly where you'll find your story's heart and heat. Bell's "Mirror Moment" is the secret, and its power is available to any writer, at any stage of the writing process. Bringing together years of craft study and personal discovery, Bell presents a truly unique approach to writing a novel, one that will stand the test of time and serve you all your writing life. "I need three things before I tackle a new novel: Diet Coke, a laptop, and my dog-eared copies of James Scott Bell's books on writing craft!"- Kami Garcia, #1 NYT Times & International Bestselling author