Penelope Lemon is back for more madcap mom adventures in Inman Majors’s hilariously unruly Operation Dimwit. It’s summertime, and son Theo is away at camp. Feeling frisky, free, and tired of living vicariously through nighttime trysts with erotic novels, Penelope can begin phase two of her postdivorce life. First on the agenda is a date with the mysterious Fitzwilliam Darcy, who lives in a mansion with his snobbish cat, Algernon, and who spends his spare time painting massive nude portraits. Meanwhile, back at the trailer-park office, Penelope’s boss, Missy, has become obsessed with getting rid of Dimwit, the backwoods interloper who may be stealing personal items from female residents. A sting operation to catch him in the act is planned, something so kooky and ill-advised that only a legendary goofball such as Missy could set it into motion. Throw in a bully trainer at Penelope’s new gym, plus an infestation of skunks that requires the services of a wildlife expert and homespun mystic known as the Critter Catcher, and it becomes clear that Penelope’s two weeks off from parenting won’t be as relaxing and incident-free as she hoped. Building on the comedic hijinks of Penelope Lemon: Game On!, Operation Dimwit is a warmhearted look at the challenges of being a single working mom trying to stay afloat in the middle class after a divorce. Zany, stylish, and uproariously funny, this southern comedy will have readers laughing out loud at familiar absurdities of life in the twenty-first-century USA.

The educationally emaciated, suffering from intellectual and spiritual bilumia, binge on facts and linear thinking. The imprimatur of clarity and the infatuation with quantification are accoutrements of this affliction, often characterized by apathy. Chaos is introduced as the wrecking ball for the hierarchical skyscrapers that overcrowd the educational skyline. The type of chaos proposed can be explained by the neutron bomb analogy. Chaos destroys all that is inessential but leaves standing the essential and promotes holistic rather than compartmentalized learning. The authors further contend that one insight is better than a myriad of facts; in being vigilant of serendipity; that the value-aspect of facts is as important as the facts themselves. Such beliefs form a foundation for educational holism. Our goal is to popularize philosophy in the same way science has become popular without a mass understanding. Empiricism is criticized for creating the theoretical basis for fragmentation (forming the basis for an island ideology) by excising essence. Founded on inessential empirical ideology, efforts to teach multiculturalism merely exacerbate difference, promote alienation, and discourage tolerance. Within the framework of value hierarchies we favor, tolerance is not understood as open-armed acceptance of just anything, but the forbearance of an evil for the promise of greater good. Essence cannot be removed: even in the idiosyncratic we can find the essential. In the absence of chaotic methodology, critical thinking remains an apolitical, amoral, and atemporal process displaced from social and political reality. We propose a critical thinking that is not legalistic, but is action-oriented. The pipe dream for education is a political, moral, temporal, and decompartmentalized critical thinking that disseminates philosophy across the curriculum. Those who risk becoming pariahs and nomads are essential to the rejuvenation of the educational system.

Contributions by Destiny O. Birdsong, Jean W. Cash, Kevin Catalano, Amanda Dean Freeman, David Gates, Richard Gaughran, Rebecca Godwin, Joan Wylie Hall, Dixon Hearne, Phillip Howerton, Emily D. Langhorne, Shawn E. Miller, Melody Pritchard, Nick Ripatrazone, Bes Stark Spangler, Scott Hamilton Suter, Melanie Benson Taylor, Jay Varner, and Scott D. Yarbrough Twenty-First-Century Southern Writers: New Voices, New Perspectives, an anthology of critical essays, introduces a new group of fiction writers from the American South. These fresh voices, like their twentieth-century predecessors, examine what it means to be a southerner in the modern world. These writers’ works cover wide-ranging subjects and themes: the history of the region, the continued problems of the working-class South, the racial divisions that have continued, the violence of the modern world, and the difficulties of establishing a spiritual identity in a modern context. The approaches and styles vary from writer to writer, with realistic, place-centered description as the foundation of many of their works. They have also created new perspectives regarding point of view, and some have moved toward the inclusion of “magic realism” and even science fiction in their work. The nineteen essays in Twenty-First-Century Southern Writers feature a handful of fiction writers who are already well known, such as National Book Award–winner Jesmyn Ward, Tayari Jones, Michael Farris Smith, and Inman Majors. Others deserve greater recognition, and, in many cases, works in this anthology will be the first pieces of analysis dedicated to writers and their work. Twenty-First-Century Southern Writers aims to alert scholars of southern literature, as well as the reading public, to an exciting and varied group of writers, while laying a foundation for future examination of these works.

The perfect tool for writers who seek to eliminate stale, trite language. The entries in this reference are conveniently arranged to allow writers to quickly find the offending phrase and a sharp alternative.

What's worse? Being held hostage by a Mexican drug cartel or being held hostage by that cartel with the one man you passionately hate? Camille Fisher, a brainy, tough-as-they-come cop, can't believe she's daring to escape with her too-hot nemesis, Aaron Montgomery. But once she outsmarts their brutal captors, the danger's just beginning. Racing across the Mexican desert, Camille begins to glimpse the surprisingly decent man behind the boorish cad. With cartel hit men closing in, she tries hard to ignore her needful heart—and harder to resist the temptation threatening to do them both in….