Berwick and Chomsky draw on recent developments in linguistic theory to offer an evolutionary account of language and humans' remarkable, species-specific ability to acquire it. “A loosely connected collection of four essays that will fascinate anyone interested in the extraordinary phenomenon of language.” —New York Review of Books We are born crying, but those cries signal the first stirring of language. Within a year or so, infants master the sound system of their language; a few years after that, they are engaging in conversations. This remarkable, species-specific ability to acquire any human language—“the language faculty”—raises important biological questions about language, including how it has evolved. This book by two distinguished scholars—a computer scientist and a linguist—addresses the enduring question of the evolution of language. Robert Berwick and Noam Chomsky explain that until recently the evolutionary question could not be properly posed, because we did not have a clear idea of how to define “language” and therefore what it was that had evolved. But since the Minimalist Program, developed by Chomsky and others, we know the key ingredients of language and can put together an account of the evolution of human language and what distinguishes us from all other animals. Berwick and Chomsky discuss the biolinguistic perspective on language, which views language as a particular object of the biological world; the computational efficiency of language as a system of thought and understanding; the tension between Darwin's idea of gradual change and our contemporary understanding about evolutionary change and language; and evidence from nonhuman animals, in particular vocal learning in songbirds.

The TikTok sensation, now with new exclusive content! Meet the Bergmans in this enemies-to-lovers new adult romance that tackles the vulnerability of love with humor and heart. From the moment Willa sat next to Ryder in class, she’s made it clear she hates his guts. Her reason is a mystery, but its outcome suits him fine. Willa Sutter is the feisty, tempting chaos he doesn’t need in his quiet, tidy life. She’s the next generation of women’s soccer. Wild hair. Bee-stung lips. And a temper that makes the devil seem friendly. He’ll leverage her hate as long as possible to keep his distance. When Willa asked Ryder to borrow his lecture notes, the silent, surly, mountain man ignored her. Ryder Bergman is an arrogant, infuriating flannel-wearing enigma. Mangy beard. Frayed ball cap that hides his eyes. And a stubborn refusal to acknowledge her existence. But Willa’s never backed down from a challenge. Forced to work together on their final project, Willa and Ryder begin a game of pranks and practical jokes, each determined to come out the champion. But once they catch unexpected feelings, victory begins to mean something else—winning each other’s hearts.

"These essays on a woman's wild ride through life give us Marion's bracing tonic–of–truth voice in splendid form—her voice that is always brilliantly funny, intelligent, brave, haunting, and full of surprises, revelations, and wise, wild connections. At this point, I don't think I could live without it. If you don't know her yet, your life is about to get better." —Naomi Shihab Nye Whether she is writing about the vagaries of family vacations on land and sea, about getting her tubes tied and the importance of a woman's right to choose, or her battles with her rebel pyromaniac teenage son, Marion Winik is searingly honest and unfailingly witty in the face of adversity. In this collection of essays, a treat for dedicated fans and new readers alike, Winik explores domesticity, midlife, and aging. A brand new final section brings Above Us Only Sky—originally published in 2005—up to date with essays from her award–winning column in the Baltimore Fishbowl, taking us through experiences with blended families, adult children, and empty nest.

Is labor's day over or is this the big moment? Acclaimed author Geoghegan asserts that only a new kind of labor movement can help the country switch course toward a future that is fair and prosperous for all Americans.

The state of emergency, according to thinkers such as Carl Schmidt, Walter Benjamin, and Giorgio Agamben, is at the heart of any theory of politics. But today the problem is not the crises that we do confront, which are often used by governments to legitimize themselves, but the ones that political realism stops us from recognizing as emergencies, from widespread surveillance to climate change to the systemic shocks of neoliberalism. We need a way of disrupting the existing order that can energize radical democratic action rather than reinforcing the status quo. In this provocative book, Santiago Zabala declares that in an age where the greatest emergency is the absence of emergency, only contemporary art’s capacity to alter reality can save us. Why Only Art Can Save Us advances a new aesthetics centered on the nature of the emergency that characterizes the twenty-first century. Zabala draws on Martin Heidegger’s distinction between works of art that rescue us from emergency and those that are rescuers into emergency. The former are a means of cultural politics, conservers of the status quo that conceal emergencies; the latter are disruptive events that thrust us into emergencies. Building on Arthur Danto, Jacques Rancière, and Gianni Vattimo, who made aesthetics more responsive to contemporary art, Zabala argues that works of art are not simply a means of elevating consumerism or contemplating beauty but are points of departure to change the world. Radical artists create works that disclose and demand active intervention in ongoing crises. Interpreting works of art that aim to propel us into absent emergencies, Zabala shows how art’s ability to create new realities is fundamental to the politics of radical democracy in the state of emergency that is the present.

The two most popular titles by the noted linguist and critic in one volume—an ideal introduction to his work. On Language features some of Noam Chomsky’s most informal and highly accessible work. In Part I, Language and Responsibility, Chomsky presents a fascinating self-portrait of his political, moral, and linguistic thinking. In Part II, Reflections on Language, Chomsky explores the more general implications of the study of language and offers incisive analyses of the controversies among psychologists, philosophers, and linguists over fundamental questions of language. “Language and Responsibility is a well-organized, clearly written and comprehensive introduction to Chomsky’s thought.” —The New York Times Book Review “Language and Responsibility brings together in one readable volume Chomsky’s positions on issues ranging from politics and philosophy of science to recent advances in linguistic theory. . . . The clarity of presentation at times approaches that of Bertrand Russell in his political and more popular philosophical essays.” —Contemporary Psychology “Reflections on Language is profoundly satisfying and impressive. It is the clearest and most developed account of the case of universal grammar and of the relations between his theory of language and the innate faculties of mind responsible for language acquisition and use.” —Patrick Flanagan

"Marvelous . . . A vital book about how to make political art that offers lasting solace in times of great trouble, and wisdom to audiences in the years that follow."- Washington Post NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR A STONEWALL BOOK AWARDS HONOR BOOK The oral history of Angels in America, as told by the artists who created it and the audiences forever changed by it--a moving account of the AIDS era, essential queer history, and an exuberant backstage tale. When Tony Kushner's Angels in America hit Broadway in 1993, it won the Pulitzer Prize, swept the Tonys, launched a score of major careers, and changed the way gay lives were represented in popular culture. Mike Nichols's 2003 HBO adaptation starring Meryl Streep, Al Pacino, and Mary-Louise Parker was itself a tour de force, winning Golden Globes and eleven Emmys, and introducing the play to an even wider public. This generation-defining classic continues to shock, move, and inspire viewers worldwide. Now, on the 25th anniversary of that Broadway premiere, Isaac Butler and Dan Kois offer the definitive account of Angels in America in the most fitting way possible: through oral history, the vibrant conversation and debate of actors (including Streep, Parker, Nathan Lane, and Jeffrey Wright), directors, producers, crew, and Kushner himself. Their intimate storytelling reveals the on- and offstage turmoil of the play's birth--a hard-won miracle beset by artistic roadblocks, technical disasters, and disputes both legal and creative. And historians and critics help to situate the play in the arc of American culture, from the staunch activism of the AIDS crisis through civil rights triumphs to our current era, whose politics are a dark echo of the Reagan '80s. Expanded from a popular Slate cover story and built from nearly 250 interviews, The World Only Spins Forward is both a rollicking theater saga and an uplifting testament to one of the great works of American art of the past century, from its gritty San Francisco premiere to its starry, much-anticipated Broadway revival in 2018.