THIS IS NOT A STORY ABOUT LOVE. It’s about the real world, where everyone has psychic powers. Even you. Even me. Even Hoshi’s ex-boyfriend who won’t stop pestering them. What does he want? “RAS” PAPILLON is a complete gender disaster (and a clown to boot). He’s fabulous, flirtatious, and funny in the strangest way. He can make you laugh with just one look. You’d think this social butterfly wouldn’t need help getting anybody’s attention… And yet. There is a young woman at the center of the universe. Her name is MIEL PAZ FONSECA, she’s trying to find herself in this wide world, and she has no clue her life is about to get turned upside down. All of a sudden, she’s the center of attention. Who are these fabulous strangers, and why won’t they leave her alone? THIS IS A STORY ABOUT RELATIONSHIPS; the ex whose bridge you burned, the ride-or-die friendships, the people who show up out of the blue and change you forever. This is a story about the real world, and the year everything changed.

Hans Magnus Enzensberger is one of the most widely read and respected writers in post-war Germany. In the present study a considerable number of his most important poems are closely analyzed, including the texts that make up his major poetic cycles, Mausoleum (1975) and Der Untergang der Titanic (1978). Central to any discussion of this highly diverse corpus is the way in which Enzensberger creates strikingly original poems on the basis of borrowed material. Der Untergang der Titanic, for example, is closely based on the famous bestseller A Night to Remember (1955) by the American writer Walter Lord and on the film of the same name by Roy Baker (1958). Enzensberger’s ?Versepos? is simply unimaginable without Lord’s book, and certain episodes represented in the poem can be fully understood only by readers who have seen the film. The appropriation of documentary material also plays an important role in the series of poems devoted to nature or science, many of which present themselves as riddles. An entire chapter is devoted to the analysis of these fascinating riddle poems. The various personages portrayed in Mausoleum comprise not only scientists, inventors, explorers, and thinkers who were responsible for truly world-changing discoveries (Gutenberg, Humboldt, and Darwin for example), but also a whole series of historical figures whose admission to this oddball pantheon is best explained by the bizarreness of their often utopian projects or by their compulsive or megalomaniacal personalities. The playful and provocative Enzensberger clearly chose several of these latter for their shock value (Raimondo di Sangro, V. M. Molotov, Ernesto Guevara de la Serna). Our reading of this collection demonstrates Enzensberger’s willingness to undermine seriousness with irony and humor, hence the presence of Dante and Marilyn Monroe on board the sinking Titanic. The final chapter examines the relation between poetry and politics and examines the notorious essay ?Gemeinplätze, die Neueste Literatur betreffend? (1968) as well as the disturbing interview with the Weimarer Beiträge (1971), in which the poet expresses his thankfully short-lived rejection of literature as art and his desire to break out of the ?Ghetto des Kulturlebens.? This chapter also discusses the influence of Bertolt Brecht. Other chapters focus on the poet’s taste for anachronism, his ?asynchronous? sensibility, and the recurrent theme of disappearance. --

THIS STORY IS NOT ABOUT SUPERHEROES. It’s about the real world, where people go to work, pay their bills, and where everyone has psychic powers. Even you. Even me. Even him. We just don’t know it yet. HOSHI YOSHINAGA KNOWS. They’ve unlocked their full potential. Hoshi’s psychic powers allow them to read minds, which they use to help people. People like ARCHER CISNEROS, a young man struggling with his identity and with love. Archer may look like any other college student—but he’s not. He can see the future. He just doesn’t know it yet. He’s too busy worrying about something even more important… He has a terrible crush on another boy. THIS IS A STORY ABOUT THE REAL WORLD, where everyday people have incredible powers, where the mundane is seen through a fantastical filter. This is a story about the real world, and the year everything changed.

Anarchism and the Advent of Paris Dada sheds new light on Paris Dada's role in developing the anarchist and individualist philosophies that helped shape the cultural dialogue in France following the First World War. Drawing on such surviving documentation as correspondence, criticism, periodicals, pamphlets, and manifestoes, this book argues that, contrary to received wisdom, Dada was driven by a vision of social change through radical cultural upheaval. The first book-length study to interrogate the Paris Dadaists' complex and often contested position in the postwar groundswell of anarcho-individualism, Anarchism and the Advent of Paris Dada offers an unprecedented analysis of Paris Dada literature and art in relation to anarchism, and also revives a variety of little known anarcho-individualist texts and periodicals. In doing so, it reveals the general ideological diversity of the postwar French avant-garde and identifies its anarchist concerns; in addition, it challenges the accepted paradigm that postwar cultural politics were monolithically nationalist. By positioning Paris Dada in its anarchist context, this volume addresses a long-ignored lacuna in Dada scholarship and, more broadly, takes its place alongside the numerous studies that over the past two decades have problematized the politics of modern art, literature, and culture.

When Sheriff Paul Plowman wakes to find dozens of escaped mythological creatures roaming through the intergalactic city of Fabula Rasa, he is forced into action on his day off. He's able to stop the invasion -- but at a cost. His neighbour, Maurice, is dead and Paul has been forced to kill a unicorn, which is against the honour code of his family. In the aftermath, Paul is tasked with solving where all of these animals came from. He soon meets Daniel Markus, a former interspecies biologist and now zookeeper on Fabula Rasa, who helps him navigate the complex underground world of mythological animal trading. As they delve deeper and deeper into the mystery, attraction blooms. After the danger passes, will there be something more between them than a love of every beast of the earth?

This book is the inner outcry of the once-mangled and now awakened child towards the so-called fast-paced civilized world. It's a case study that led to overcoming traumas, healing acquired identities through philosophies and practices older and more experienced than the current McDonald's civilization. Holistic and yogic reverse engineering of the soul, mind, and body. A glimpse into the microscopic structure of thoughts, as well as distancing the perspective of the existence of the being called human to the limits of human consciousness. Dedicated to individuals at various stages of their journey. The included tried and tested practices within can be helpful to you as well if you still deeply sense that something isn't right...

This volume addresses the central question facing the future of higher education around the world, whether and why universities need to exist at all. This book accepts the question’s premise: It is not clear that the university is any longer needed as an institution -- that is, unless its defenders recover what had made the university the revolutionary institution that over the past two centuries has not only defined the shape of modern systematic inquiry but also the distinctiveness of the societies that have housed them. In short, what is required is a reanimation of the spirit of Wilhelm von Humboldt for our times; hence the book's title and subtitle. Humboldt was responsible for relaunching the university as the vanguard institution of 'Enlightenment' to which we continue to pay lip service – and sometimes not much more than that. Admittedly, the task of relaunching Humboldt today is made difficult because many of the concrete achievements associated with the Humboldtian university – not least academic disciplines and nation-states – are increasingly seen as problematic if not obsolete. However, the global reach of the Humboldtian vision in its 19th century and 20th century heyday offers hope that it may be recovered in the 21st century. The book focuses on the performative character of the academic vocation, what Humboldt memorably characterized as the 'unity of research and teaching' in the same person, a role model for students and society at large. The book's seven chapters develop this theme in a historically and philosophically nuanced way in terms of the Humboldtian vision of knowledge, sense of free expression and critical judgement, and commitment to translation and publicity.

Network of superlatives Frederick Kiesler was a committed networker and communicated regularly with the who’s who of the avant-garde. He was an important intermediary between the visionary ideas of the European Moderne movement and the up-and-coming New York art scene. About 20 contributions portray his colorful life and his multifaceted oeuvre in various contexts, and place Kiesler in a dialog with the most important artists and architects of his time. The publication on the occasion of the 20 year anniversary of the Friedrich Kiesler Foundation deals with his relationship with the Bauhaus, surrealism, and the New York School, as well as with personalities such as Richard Buckminster Fuller, Marcel Duchamp, Arshile Gorky, Theo van Doesburg, Piet Mondrian, Hans Arp, Sigfried Giedion, and others. An interwoven analysis of his life and work Contributions on individual and case studies Kiesler and Bauhaus, Mondrian, Buckminster Fuller, Duchamp, and many others

Gerald Burns is a leading practitioner of long-lined, thickly textured verse. "These / long lines are long life to us, go back to Kenneth Irby's 'A Set' I saw first in / a flyer from Lawrence, KS where Burroughs chats with Cage whose spitbubbles / may remind us with Zukofsky the heart of the bluebonnet's black. Anyone can learn from anything, " he writes, and as these lines from "For J. R. Here" indicate, Burns has learned much: his long dragnet lines display a lifetime of wide reading and close observation from an astonishing range of subjects