Architecture plays an important role In the films of Alfred Hitchcock. Steven Jacobs devotes lengthy discussion to a series of domestic buildings with the help of a number of reconstructed floor plans made specially for this book.

Follows the lives of Frances and Hart Drummond, married nearly forty years, and their grown children, as they cope with communication problems, love, marriage, and Connecticut real estate.

Anna Miles has hidden from the world for months. But on a storm-lashed night, a stranger arrives at her door: a mute girl with the body of an old woman in her car. Who is the girl, and what is her strange connection to Anna? And from whom has Anna been hiding all this time? Chief Inspector Robert Wilde assumes the task of investigating the elderly passenger’s death, a case which turns out to be the strangest and most disturbing of his career. This edition is the first publication of this title outside the United Kingdom.

"The Wrong House" is a short story by Guy de Maupassant.Henri René Albert Guy de Maupassant (5 August 1850 – 6 July 1893) was a popular 19th-century French writer, considered one of the fathers of the modern short story and one of the form's finest exponents.A protégé of Flaubert, Maupassant's stories are characterized by their economy of style and efficient, effortless dénouements. Many of the stories are set during the Franco-Prussian War of the 1870s and several describe the futility of war and the innocent civilians who, caught in the conflict, emerge changed. He authored some 300 short stories, six novels, three travel books, and one volume of verse. His first published story "Boule de Suif" ("Ball of Fat", 1880) is often considered his masterpiece.He delighted in clever plotting, and served as a model for Somerset Maugham and O. Henry in this respect. His stories about expensive jewellery ("The Necklace", "La parure") are imitated with a twist by Maugham ("Mr Know-All", "A String of Beads") and Henry James ("Paste").Taking his cue from Balzac, Maupassant wrote comfortably in both the high-Realist and fantastic modes; stories and novels such as "L'Héritage" and Bel-Ami aim to recreate Third Republic France in a realistic way, whereas many of the short stories (notably "Le Horla" and "Qui sait?") describe apparently supernatural phenomena.The supernatural in Maupassant, however, is often implicitly a symptom of the protagonists' troubled minds; Maupassant was fascinated by the burgeoning discipline of psychiatry, and attended the public lectures of Jean-Martin Charcot between 1885 and 1886. This interest is reflected in his fiction.Maupassant is notable as the subject of one of Leo Tolstoy's essays on art: The Works of Guy de Maupassant.Friedrich Nietzsche's autobiography mentions him in the following text:"I cannot at all conceive in which century of history one could haul together such inquisitive and at the same time delicate psychologists as one can in contemporary Paris: I can name as a sample – for their number is by no means small, ... or to pick out one of the stronger race, a genuine Latin to whom I am particularly attached, Guy de Maupassant."

This new edition of the classic guide offers a thorough and accessible introduction to contemporary critical theory. It provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African-American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading. This book can be used as the only text in a course or as a precursor to the study of primary theoretical works. It motivates readers by showing them what critical theory can offer in terms of their practical understanding of literary texts and in terms of their personal understanding of themselves and the world in which they live. Both engaging and rigorous, it is a "how-to" book for undergraduate and graduate students new to critical theory and for college professors who want to broaden their repertoire of critical approaches to literature.

The Pulitzer Prize–winning opinion columnist at The New York Times explores how people in power reveal themselves through their books and writings and, in so doing, illuminates the personal, political, and cultural conflicts driving Washington and the nation. As a long-time book critic and columnist in Washington, Carlos Lozada dissects all manner of texts: commission reports, political reporting, Supreme Court decisions, and congressional inquiries to understand the controversies animating life in the capital. He also reads copious books by politicians and top officials: tell-all accounts by administration insiders, campaign biographies by candidates longing for high office, revisionist memoirs by those leaving those offices behind. With this provocative essay collection, Lozada argues that no matter how carefully political figures sanitize their experiences, positions, and records, no matter how diligently they present themselves in the best and safest and most electable light, they almost always let slip the truth. They show us their faults and blind spots, their ambitions and compromises, their underlying motives and insecurities. Whether they mean to or not, they tell us who they really are. In his memoirs and speeches, Barack Obama constantly invoked the power and meaning of his life story, Lozada notes, a sign of how the former president capitalized on his personal symbolism, trying to transform it from inspiration on the campaign trail into an all-purpose governing tool. In a soliloquy about his hair in a self-help book published two decades ago, Donald Trump revealed not just his vanity, Lozada explains, but his utter isolation from the world, long before he entered the bubble of the White House. In deft and lacerating prose, Lozada interprets the unresolved tensions of Hillary Clinton’s ideological beliefs. He imagines the wonderful memoir George H.W. Bush could have given us but instead left scattered in throughout various books and letters. He explores why Kamala Harris has struggled to carve out a distinctive role as vice president. He explains how Ron DeSantis’s pitch to America is just a list of enemies. And he even glimpses what Vladimir Putin fears the most, and why he seeks conflict with the West. He does so all through their own books, and their own words. Lozada reads these books so you don’t have to. The Washington Book is the perfect guide to the state of our politics, and then men and women who dominate the terrain. It explores the construction of personal identity, the delusions of leadership, and that mix of subservience and ambition that can define a life in politics. The more we read the stories of Washington, Lozada contends, the clearer our understanding of the competing visions of our country.