After an earthquake destroys California and a tsunami wrecks the luxury cruise ship where he is a summer employee, high schooler Shy confronts another deadly surprise.

Reimagining the scholarly book as living and collaborative--not as commodified and essentialized, but in all its dynamic materiality. In this book, Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project--not as linear, bound, and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema's proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality. Adema suggests ways to unbind the book, describing experiments in scholarly book publishing with new forms of anonymous collaborative authorship, radical open access publishing, and processual, living, and remixed publications, among other practices. She doesn't cast digital as the solution and print as the problem; the problem in scholarly publishing, she argues, is not print itself, but the way print has been commodified and essentialized. Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. Finally, asking why it is that we cut and bind our research together at all, she examines two book publishing projects that experiment with remix and reuse and try to rethink and reperform the book-apparatus by taking responsibility for the cuts they make.

A truly enthralling, disturbing anti-utopian fantasy novel that will have readers gripped from page one. After a global catastrophe called the Great Reduction, the number of people living on Earth has become fixed, remaining a constant 3 billion. The concept of death no longer exists, and instead, people are reborn anywhere on the planet with an in-code that keeps track of information about all their previous incarnations. Humankind is no longer individual— people are only particles making up one composite organism called The Living. The particles of The Living live happily and die happily, according to a government-determined schedule. All of society is connected directly from the brain to the social network (Socio), and family and country are now of no importance. Society is global, and attachment to parents and children is denounced as a deviation. Yet, there is one man born without an in-code— a spare human being. His birth increases the number of The Living by one, which threatens global harmony. Who is Zero and how will The Living survive?

One summer, a young woman travels with her lover to the isolated tobacco farm he has inherited after his family dies in a terrible accident. As Orren works to save his family farm from drought, Aloma struggles with the loneliness of farm life and must find her way in a combative, erotically-charged relationship with a grieving, taciturn man. A budding friendship with a handsome and dynamic young preacher further complicates her growing sense of dissatisfaction. As she considers whether to stay with Orren or to leave, she grapples with the finality of loss and death, and the eternal question of whether it is better to fight for freedom or submit to love. All the Living has the timeless quality of a parable, but is also a perfect evocation of a time and place, a portrait of both age-old conflicts and modern life. It is an ode to the starve-acre Southern farm, the mountain landscape, and difficult love. In her lyrical and moving debut novel, C.E. Morgan recalls both the serenity of Marilynne Robinson and the shifting emotional currents and unashamed eroticism of James Salter. It is an unforgettable book from a major new voice.

In 1967, when this brave book was first published, Myrlie Evers said, “Somewhere in Mississippi lives the man who murdered my husband.” Medgar Evers died in a horrifying act of political violence. Among both blacks and whites, the killing of this Mississippi civil rights leader intensified the menacing moods of unrest and discontent generated during the civil rights era. His death seemed to usher in a succession of political shootings—Evers, then John Kennedy, then Martin Luther King, Jr., then Robert Kennedy. At thirty-seven while field secretary for the NAACP, Evers was gunned down in Jackson, Mississippi, during the summer of 1963. Byron De La Beckwith, an arch segregationist charged with the crime, was released after two trials with hung juries. In 1994, after new evidence surfaced thirty years later, Beckwith was arrested and tried a third time. Medgar Evers's widow saw him convicted and jailed with a life sentence. In For Us, the Living this extraordinary woman tells a moving story of her courtship and of her marriage to this heroic man who learned to live with the probability of violent death. She describes her husband's unrelenting devotion to the quest of achieving civil rights for thousands of black Mississippians and of his ultimate sacrifice on that hot summer night. With this reprinting of her poignant yet painful memoir, a book long out of print comes back to life and underscores the sacrifice of Medgar Evers and his family. Introduced in a reflective essay written by the acclaimed Mississippi author Willie Morris, this account of Evers's professional and family life will cause readers to ponder how his tragic martyrdom quickened the pace of justice for black people while withholding justice from him for thirty years. Since the conviction of Beckwith in a dramatic and historical trial in a Mississippi court there has been renewed acclaim for Evers. One speculates that, had he lived, he might have attained even more for the equality of African Americans in national life.

WINNER OF THE NEUSTADT PRIZE This novel of post-9/11 London is a masterful dissection of racism, aging, and the perturbing nature of desire. Ananda Devi's "fluid, poetic language memorably conjures a union of two outcasts" (The New Yorker). A chance encounter on Portobello Road incites an unsettling, magnetic attraction between Mary, a seventy-five-year-old white British spinster, and Cub, a thirteen-year-old Jamaican boy from Brixton. Mary increasingly clings to phantoms as dementia overtakes her reality, latching on to Cub and channeling all of her remaining energy into their relationship. But their macabre romance comes to a horrific climax, as white supremacy, poverty, and class conflict explode on the streets of London. Through exquisite juxtaposition, Devi uses lush prose to confront the tensions of an increasingly nationalistic metropolis, and the queasy nature of desire muddled with power. “A gorgeously written, profoundly upsetting fairy tale of race, class, power, and desire.” —Kirkus Reviews, starred review "Brutal and entirely believable, a gorgeous and haunting depiction of London and the real lives and memories of those unseen within it." —Publishers Weekly

This book quite literally comes to life off the page. It is the most imaginative, inspiring, and dramatic human body book on the market. Forget heavy reference books, forget linear narratives, open your eyes and be amazed by the creativity of this human body book. Travel through the body's systems using a host of novelty features - pop-ups, flaps, sound chips, acetate, pull-tabs, fibre optics and much more - to illustrate, inform, stimulate, and entertain. Every special feature works to demystify the miracle of creation that is your body. See the skeleton jump off the page, peel away your organs layer by layer, listen to the heart beat and watch it move within an awe-inspiring 3D ribcage. There's something for all the family in this graphic portrayal of the human body. But not only is it fun, it is also authoritative and well researched. The author, Richard Walker is an award-winning science writer and his text is fresh, revealing and accessible for everyone.