Rewriting Wrongs: French Crime Fiction and the Palimpsest furthers scholarly research into French crime fiction and, within that broad context, examines the nature, functions and specificity of the palimpsest. Originally a palaeographic phenomenon, the palimpsest has evolved into a figurative notion used to define any cultural artefact which has been reused but still bears traces of its earlier form. In her 2007 study The Palimpsest, Sarah Dillon refers to “the persistent fascination with palimpsests in the popular imagination, embodying as they do the mystery of the secret, the miracle of resurrection and the thrill of detective discovery”. In the context of crime fiction, the palimpsest is a particularly fertile metaphor. Because the practice of rewriting is so central to popular fiction as a whole, crime fiction is replete with hypertextual transformations. The palimpsest also has tremendous extra-diegetic resonance, in that crime fiction frequently involves the rewriting of criminal or historical events and scandals. This collection of essays therefore exemplifies and interrogates the various manifestations and implications of the palimpsest in French crime fiction.

Writing Wrongs is a concise and thoughtful guide to common errors in English. It covers frequently confused and misused words along with problems of grammar, punctuation, and style, and offers a brief and up-to-date guide to major citation styles. Though it provides guidelines and recommendations for usage, Writing Wrongs acknowledges the evolution of language over time and the fact that different contexts have different rules—it is not narrowly prescriptive. A friendly, flexible, and easy-to-read reference, Writing Wrongs will be useful to students and general readers alike.

NEW YORK TIMES BESTSELLER • An “extraordinary, unforgettable” (Michelle Alexander, author of The New Jim Crow) memoir of redemption and second chances amidst America’s mass incarceration epidemic, from a member of Oprah’s SuperSoul 100 Shaka Senghor was raised in a middle-class neighborhood on Detroit’s east side during the height of the 1980s crack epidemic. An honor roll student and a natural leader, he dreamed of becoming a doctor—but at age eleven, his parents’ marriage began to unravel, and beatings from his mother worsened, which sent him on a downward spiral. He ran away from home, turned to drug dealing to survive, and ended up in prison for murder at the age of nineteen, full of anger and despair. Writing My Wrongs is the story of what came next. During his nineteen-year incarceration, seven of which were spent in solitary confinement, Senghor discovered literature, meditation, self-examination, and the kindness of others—tools he used to confront the demons of his past, forgive the people who hurt him, and begin atoning for the wrongs he had committed. Upon his release at age thirty-eight, Senghor became an activist and mentor to young men and women facing circumstances like his. His work in the community and the courage to share his story led him to fellowships at the MIT Media Lab and the Kellogg Foundation and invitations to speak at events like TED and the Aspen Ideas Festival. In equal turns, Writing My Wrongs is a page-turning portrait of life in the shadow of poverty, violence, and fear; an unforgettable story of redemption; and a compelling witness to our country’s need for rethinking its approach to crime, prison, and the men and women sent there.

Key works of popular fiction are often rewritten to capitalize on their success. But what are the implications of this rewriting process? Such is the question addressed by this detailed study of several rewritings of Eugène Sue’s Mystères de Paris (1842-43), produced in the latter half of the nineteenth century, in response to the phenomenal success of Sue’s archetypal urban mystery. Pursuing a compelling analogy between city and text, and exploring the resonance of the palimpsest trope to both, Amy Wigelsworth argues that the mystères urbains are exemplary rewritings, which shed new light on contemporary reading and writing practices, and emerge as early avatars of a genre still widely consumed and enjoyed in the 21st century.

What science has gotten so shamefully wrong about women, and the fight, by both female and male scientists, to rewrite what we thought we knew For hundreds of years it was common sense: women were the inferior sex. Their bodies were weaker, their minds feebler, their role subservient. No less a scientist than Charles Darwin asserted that women were at a lower stage of evolution, and for decades, scientists—most of them male, of course—claimed to find evidence to support this. Whether looking at intelligence or emotion, cognition or behavior, science has continued to tell us that men and women are fundamentally different. Biologists claim that women are better suited to raising families or are, more gently, uniquely empathetic. Men, on the other hand, continue to be described as excelling at tasks that require logic, spatial reasoning, and motor skills. But a huge wave of research is now revealing an alternative version of what we thought we knew. The new woman revealed by this scientific data is as strong, strategic, and smart as anyone else. In Inferior, acclaimed science writer Angela Saini weaves together a fascinating—and sorely necessary—new science of women. As Saini takes readers on a journey to uncover science’s failure to understand women, she finds that we’re still living with the legacy of an establishment that’s just beginning to recover from centuries of entrenched exclusion and prejudice. Sexist assumptions are stubbornly persistent: even in recent years, researchers have insisted that women are choosy and monogamous while men are naturally promiscuous, or that the way men’s and women’s brains are wired confirms long-discredited gender stereotypes. As Saini reveals, however, groundbreaking research is finally rediscovering women’s bodies and minds. Inferior investigates the gender wars in biology, psychology, and anthropology, and delves into cutting-edge scientific studies to uncover a fascinating new portrait of women’s brains, bodies, and role in human evolution.

This is the first English-language volume on representations of women at work in contemporary French cultural productions. It covers a variety of genres: literature, cinema and television, journalism, bande dessinée. Draws from a wide range of work experiences from salaried work in academic, artistic, corporate and working-class worlds to unpaid—reproductive, domestic—labour, illegal activities and activism.

We live in a time of great uncertainty about relationships. We search for "The One," but find ourselves staying single because nobody measures up. The reality of our relationships is not what we expected, and it becomes hard to balance it with all the other things that we want out of life. At the same time that marriage shows itself to be the one 'recession proof' industry; the rates of separation and break-up soar ever higher. Rewriting the Rules is a friendly guide through the complicated - and often contradictory - rules of love: the advice that is given about attraction and sex, monogamy and conflict, gender and commitment. It asks questions such as: which to choose from all the rules on offer? Do we stick to the old rules we learnt growing up, or do we try something new and risk being out on our own? This book considers how the rules are being 'rewritten' in various ways, for example the 'new monogamy', alternative commitment ceremonies, different ways of understanding gender, and new ideas for managing conflict and break-up where economics and child-care make complete separation a problem. In this way Rewriting the Rules gives the power to the reader to find the approach which fits their situation.