At its center is eccentric dowager Mrs. Basil, who chooses to live in only one room of her Oxford mansion. Her quiet existence is disrupted by the arrival of her grandson Nicky and four of his friends and new cook-housekeeper Dubois, who startles the mistress of the house by levitating in the air. The miracle confounds the woman, who begins to question her lifelong belief that God does not exist.\

It is rare to find contemporary American poetry that speaks to readers with engaging directness, free of pretense or posturing. That is exactly the kind of poetry that Blas Falconer writes. In his first collection, Falconer presents 46 poems that are emotionally forthright and linguistically evocative but written without affectation or subterfuge. Although Falconer is formally trained and is aware of the structures and potential of both free verse and traditional poetic forms, he crafts exquisite, heartfelt poems that surprise us with their simple intensity. Whether writing about the mysteries of childhood or the pleasures of cruising for gay sex in a metropolitan airport, he surprises us with the delicacy of his touch, never obvious or heavy-handed. As a gay man who embraces his Puerto Rican heritage, Falconer stands at an edge of American society, and there is the tension of borders in his work: borders between peoples and nations as well as the less visible, more porous and deceptive borders between family members and lovers. There is not one point of view in these poems but many. It is the quality of their observational power that binds them together. Whether the setting is the hospital room of his dying grandfather or his own backyard teeming with garrulous tree frogs, Falconer transports us to the scene. It is easy for us to imagine what he sees. And we care, deeply, just as he does.

The headlong rush, the rapid montage, the soaring superhero, the plunging roller coaster—Matters of Gravity focuses on the experience of technological spectacle in American popular culture over the past century. In these essays, leading media and cultural theorist Scott Bukatman reveals how popular culture tames the threats posed by technology and urban modernity by immersing people in delirious kinetic environments like those traversed by Plastic Man, Superman, and the careening astronauts of 2001: A Space Odyssey and The Right Stuff. He argues that as advanced technologies have proliferated, popular culture has turned the attendant fear of instability into the thrill of topsy-turvydom, often by presenting images and experiences of weightless escape from controlled space. Considering theme parks, cyberspace, cinematic special effects, superhero comics, and musical films, Matters of Gravity highlights phenomena that make technology spectacular, permit unfettered flights of fantasy, and free us momentarily from the weight of gravity and history, of past and present. Bukatman delves into the dynamic ways pop culture imagines that apotheosis of modernity: the urban metropolis. He points to two genres, musical films and superhero comics, that turn the city into a unique site of transformative power. Leaping in single bounds from lively descriptions to sharp theoretical insights, Matters of Gravity is a deft, exhilarating celebration of the liberatory effects of popular culture.

“This gracefully written history of twentieth-century gravity research” brings to life the discoveries and developments that confirmed the theory of relativity (Publishers Weekly, starred review). Albert Einstein did nothing of note on May 29, 1919, yet that is when he became immortal. On that day, astronomer Arthur Eddington and his team observed a solar eclipse and found something extraordinary: gravity bends light, just as Einstein predicted. The finding confirmed the theory of general relativity, fundamentally changing our understanding of space and time. A century later, the Event Horizon Telescope examined the space surrounding Sagittarius A*, the supermassive black hole at the center of the Milky Way, to determine whether Einstein was right on the details. In Gravity’s Century, award-winning science writer Ron Cowen brings to life the incredible scientific journey between these two events and sheds light on their groundbreaking implications. From the development of radio telescopes to the discovery of black holes and quasars, and the still-unresolved place of gravity in quantum theory, Cowen breaks down the physics in clear and approachable language. Gravity’s Century vividly demonstrates how the quest to understand gravity is really the quest to comprehend the universe./

Mesklin is a vast, inhospitable, disc-shaped planet, so cold that its oceans are liquid methane and its snows are frozen ammonia. It is a world spinning dizzyingly, a world where gravity can be a crushing 700 times greater than Earth's, a world too hostile for human explorers. But the planet holds secrets of inestimable value, and an unmanned probe that has crashed close to one of its poles must be recovered. Only the Mesklinites, the small creatures so bizarrely adapted to their harsh environment, can help. And so Barlennan, the resourceful and courageous captain of the Mesklinite ship Bree, sets out on an heroic and appalling journey into the terrible unknown. For him and his people, the prize to be gained is as great as that for mankind... Hal Clement's MISSION OF GRAVITY is universally regarded as one of the most important and best loved novels in the genre. The remarkable and sympathetic depiction of an alien species and the plausible and scientifically based realisation of the strange world they inhabit make it a major landmark in the history of hard SF.

Containing contributions from leading researchers in this field, this book provides a complete overview of this field from the frontiers of theoretical physics research for graduate students and researchers. It introduces the most current approaches to this problem, and reviews their main achievements.

Gravity in our myths -- Gravity in motion -- Gravity as a fiction -- Gravity as a fact -- Gravity as an equal -- Gravity in excelsis -- Gravity in our bones.

Einstein's gravity theory—his general theory of relativity—has served as the basis for a series of astonishing cosmological discoveries. But what if, nonetheless, Einstein got it wrong? Since the 1930s, physicists have noticed an alarming discrepancy between the universe as we see it and the universe that Einstein's theory of relativity predicts. There just doesn't seem to be enough stuff out there for everything to hang together. Galaxies spin so fast that, based on the amount of visible matter in them, they ought to be flung to pieces, the same way a spinning yo-yo can break its string. Cosmologists tried to solve the problem by positing dark matter—a mysterious, invisible substance that surrounds galaxies, holding the visible matter in place—and particle physicists, attempting to identify the nature of the stuff, have undertaken a slew of experiments to detect it. So far, none have. Now, John W. Moffat, a physicist at the Perimeter Institute for Theoretical Physics in Waterloo, Canada, offers a different solution to the problem. The cap­stone to a storybook career—one that began with a correspondence with Einstein and a conversation with Niels Bohr—Moffat's modified gravity theory, or MOG, can model the movements of the universe without recourse to dark matter, and his work chal­lenging the constancy of the speed of light raises a stark challenge to the usual models of the first half-million years of the universe's existence. This bold new work, presenting the entirety of Moffat's hypothesis to a general readership for the first time, promises to overturn everything we thought we knew about the origins and evolution of the universe.

At its center is eccentric dowager Mrs. Basil, who chooses to live in only one room of her Oxford mansion. Her quiet existence is disrupted by the arrival of her grandson Nicky and four of his friends and new cook-housekeeper Dubois, who startles the mistress of the house by levitating in the air. The miracle confounds the woman, who begins to question her lifelong belief that God does not exist.\

“My vocation was supposed to be joy, and I was speaking at funerals.” Shortly after being hired by Yale University to study joy, Angela Gorrell got word that a close family member had died by suicide. Less than a month later, she lost her father to a fatal opioid addiction and her nephew, only twenty-two years old, to sudden cardiac arrest. The theoretical joy she was researching at Yale suddenly felt shallow and distant—completely unattainable in the fog of grief she now found herself in. But joy was closer at hand than it seemed. As she began volunteering at a women’s maximum-security prison, she met people who suffered extensively yet still showed a tremendous capacity for joy. Talking with these women, many of whom had struggled with addiction and suicidal thoughts themselves, she realized: “Joy doesn’t obliterate grief. . . . Instead, joy has a mysterious capacity to be felt alongside sorrow and even—sometimes most especially—in the midst of suffering.” This is the story of Angela’s discovery of an authentic, grounded Christian joy. But even more, it is an invitation for others to seize upon this more resilient joy as a counteragent to the twenty-first-century epidemics of despair, addiction, and suicide—a call to action for communities that yearn to find joy and are willing to “walk together through the shadows” to find it.