Lynne Huffer's ambitious inquiry redresses the rift between feminist and queer theory, traversing the space of a new, post-moral sexual ethics that includes pleasure, desire, connection, and betrayal. She begins by balancing queer theorists' politics of sexual freedoms with a moralizing feminist politics that views sexuality as harm. Drawing on the best insights from both traditions, she builds an ethics centered on eros, following Michel Foucault's ethics as a practice of freedom and Luce Irigaray's lyrical articulation of an ethics of sexual difference. Through this theoretical lens, Huffer examines everyday experiences of ethical connection and failure connected to sex, including queer sexual practices, sodomy laws, interracial love, pornography, and work-life balance. Her approach complicates sexual identities while challenging the epistemological foundations of subjectivity. She rethinks ethics "beyond good and evil" without underestimating, as some queer theorists have done, the persistence of what Foucault calls the "catastrophe" of morality. Elaborating a thinking-feeling ethics of the other, Huffer encourages contemporary intellectuals to reshape sexual morality from within, defining an ethical space that is both poetically suggestive and politically relevant, both conceptually daring and grounded in common sexual experience.

Fran's deepest concerns are thoroughly existential, altogether more serious than those of the mere literary formalist. Her work is grounded in an unstinting search for meaning, a relentless effort to find speech in the presence of life's silencing mysteries. At the Grave's Mouth, the early poems of Fran Montane, is an experience in consciousness D an idiolect at once speculative and visceral, tragic and satirical, dark and picaresque. As poet and lesbian, having worked with a silent, almost secret passion on her verse she offers a unique vision of the Kali Yuga D the dark age in Indian philosophy in which we are living which leads to the new cycle of the Satya Yuga D the age of truth, a position she pursues in her later works. I think you'll find this work exceptional from both an artistic standpoint and in the context of the times in which we live. She very well may be the Arthur Rimbaud and Jim Morrison of the new Millenium. Tom Ross, Performance and Visual Artist, Director

A debut author unearths the long-buried secrets of a small New England town in the 1850s in this richly atmospheric Gothic tale of murder, guilt, redemption, and finding love where it's least expected.

After Chicago's ghost population starts going seriously postal, resident wizard Harry Dresden much figure out who is stirring them up and why they all seem to be somehow connected to him.

Examines the embalming process and the impact the standard funeral has on the environment while also discussing alternative eco-friendly burials.

Danger and intrigue of the US Army Bomb Disposal teams in the European Theatre of Operations, as young Eric Pedersen from Little Falls, Minnesota, enlists in the Army at the outbreak of World War 2, and volunteers for the newly established Bomb Disposal program. He is quickly shipped to North Africa with his squad, takes part in the victory of the desert campaign, then moves on to Sicily and Italy, and finally becomes embroiled in the landing at Normandy and the march through France, culminating with the final victory in Germany. As Eric moves through the combat arenas, he befriends men of the famous Japanese-American 442nd Regimental Combat Team and forges a lasting relationship with his new friend from the 3rd Infantry Division, Audie Murphy.

What is the strange eros that haunts Foucault’s writing? In this deeply original consideration of Foucault’s erotic ethics, Lynne Huffer provocatively rewrites Foucault as a Sapphic poet. She uncovers eros as a mode of thought that erodes the interiority of the thinking subject. Focusing on the ethical implications of this mode of thought, Huffer shows how Foucault’s poetic archival method offers a way to counter the disciplining of speech. At the heart of this method is a conception of the archive as Sapphic: the past’s remains are, like Sappho’s verses, hole-ridden, scattered, and dissolved by time. Listening for eros across fragmented texts, Huffer stages a series of encounters within an archive of literary and theoretical readings: the eroticization of violence in works by Freud and Eve Kosofsky Sedgwick, the historicity of madness in the Foucault-Derrida debate, the afterlives of Foucault’s antiprison activism, and Monique Wittig’s Sapphic materialism. Through these encounters, Foucault’s Strange Eros conceives of ethics as experiments in living that work poetically to make the present strange. Crafting fragments that dissolve into Sapphic brackets, Huffer performs the ethics she describes in her own practice of experimental writing. Foucault’s Strange Eros hints at the self-hollowing speech of an eros that opens a space for the strange.

“A dark, delectable, and utterly unique series that readers will want to drown in.” —Laura Sebastian, New York Times bestselling author of the Ash Princess series The start of a fierce fantasy duology about three maidens who are chosen for their land's greatest honor...and one girl determined to save her sister from the grave. In the walled city-state of Alu, Kammani wants nothing more than to become the accomplished healer her father used to be before her family was cast out of their privileged life in shame. When Alu's ruler falls deathly ill, Kammani’s beautiful little sister, Nanaea, is chosen as one of three sacred maidens to join him in the afterlife. It’s an honor. A tradition. And Nanaea believes it is her chance to live an even grander life than the one that was stolen from her. But Kammani sees the selection for what it really is—a death sentence. Desperate to save her sister, Kammani schemes her way into the palace to heal the ruler. There she discovers more danger lurking in the sand-stone corridors than she could have ever imagined and that her own life—and heart—are at stake. But Kammani will stop at nothing to dig up the palace’s buried secrets even if it means sacrificing everything…including herself. "A dark and utterly enthralling journey to an ancient land, Gravemaidens grabs you by your beating heart and refuses to let go until the bitter, breathtaking end."—Sarah Glenn Marsh, author of the Reign of the Fallen series

"The world's greatest adolescent British chemist/busybody/sleuth" (The Seattle Times), Flavia de Luce, returns in a twisty new mystery novel from award-winning and New York Times bestselling author Alan Bradley. In the wake of an unthinkable family tragedy, twelve-year-old Flavia de Luce is struggling to fill her empty days. For a needed escape, Dogger, the loyal family servant, suggests a boating trip for Flavia and her two older sisters. As their punt drifts past the church where a notorious vicar had recently dispatched three of his female parishioners by spiking their communion wine with cyanide, Flavia, an expert chemist with a passion for poisons, is ecstatic. Suddenly something grazes against her fingers as she dangles them in the water. She clamps down on the object, imagining herself as Ernest Hemingway battling a marlin, and pulls up what she expects will be a giant fish. But in Flavia's grip is something far better: a human head, attached to a human body. If anything could take Flavia's mind off sorrow, it is solving a murder—although one that may lead the young sleuth to an early grave.