The acclaimed Roswell High series—and the inspiration for the Roswell, New Mexico TV series—returns with this new introduction, perfect for fans of Stranger Things and Riverdale. He’s not like other guys. Liz has seen him around school. It’s hard to miss Max—the tall, blond, blue-eyed senior stands out among all the other students at Roswell High. So why is he such a loner? Max is in love with Liz. He loves the way her eyes light up when she laughs and the way her long, black hair moves when she turns her head. Most of all, he loves to imagine what it would be like to kiss her. But he knows he can’t get too close. He can’t risk her discovering the truth about who he is—or what he is.... Because the truth could kill her.

Radical Empiricists presents a new history of criticism in the first half of the twentieth-century, against the backdrop of the modernist crisis of meaning. Our received idea of modernist criticism is that its novelty lay in being very empirical: critics believed in looking closely at words on the page. Such close reading has since been easy to ridicule but my book seeks to consider whether this is fair: have we, in the rush either to dismiss, or even to defend, the idea of close reading, often failed to look closely at what it involves in practice? Against this oversight, Radical Empiricists turns close reading back on itself, proposing some innovative readings of the prose of five major modernist poet-critics: I.A. Richards, T.S. Eliot, William Empson, R.P. Blackmur, and Marianne Moore. The book is divided into two parts, preceded by an introduction that explores what these five writers share: a radical self-consciousness about the key critical concept, 'meaning'. Part I, 'How to read', considers the prose techniques of Eliot, Richards and Empson as they push at the boundaries of verbal analysis in other disciplines: experimental psychology and anthropology, classical commentary and textual criticism. Part II introduces Blackmur and Moore, alongside Empson, and takes a more polemical look at how their critical styles defy various modernist orthodoxies about 'how not to read' (for example, that paraphrase always destroys poetic meaning). Many of these orthodoxies remain current: re-visiting their history, and attending to the rich detail of critical prose styles, can allow us to lift some old, unreflective constraints on our ways of knowing about poems.

Outsider art has exploded onto the international art scene, gaining widespread attention for its startling originality and visual power. As an expression of raw creativity, outsider art remains associated with self-taught visionaries, psychiatric patients, trance mediums, eccentric outcasts, and unschooled artistic geniuses who create things outside of mainstream artistic trends and styles. Outsider Art: Visionary Worlds and Trauma provides a comprehensive guide through the contested terrain of outsider art and the related domains of art brut, visionary art, “art of the insane,” and folk art. The book examines the history and primary issues of the field as well as explores the intersection between culture and individual creativity that is at the very heart of outsider art definitions and debates. Daniel Wojcik's interdisciplinary study challenges prevailing assumptions about the idiosyncratic status of outsider artists. This wide-ranging investigation of the art and lives of those labeled outsiders focuses on the ways that personal tragedies and suffering have inspired the art-making process. In some cases, trauma has triggered a creative transformation that has helped artists confront otherwise overwhelming life events. Additionally, Wojcik's study illustrates how vernacular traditions, religious worldviews, ethnic heritage, and popular culture have influenced such art. With its detailed consideration of personal motivations, cultural milieu, and the potentially therapeutic aspects of art making, this volume provides a deeper understanding of the artistic impulse and human creativity.

Living with her aunt's family in Mansfield, Massachusetts, for a few months before turning eighteen and starting college, Edie is torn between Sebastian, the boy next door, and playboy Henry.--

Vampire Henry Sturges returns in the highly anticipated sequel to Abraham Lincoln: Vampire Hunter-a sweeping, alternate history of twentieth-century America by New York Times bestselling author Seth Grahame-Smith. THE LAST AMERICAN VAMPIRE In Reconstruction-era America, vampire Henry Sturges is searching for renewed purpose in the wake of his friend Abraham Lincoln's shocking death. Henry's will be an expansive journey that first sends him to England for an unexpected encounter with Jack the Ripper, then to New York City for the birth of a new American century, the dawn of the electric era of Tesla and Edison, and the blazing disaster of the 1937 Hindenburg crash. Along the way, Henry goes on the road in a Kerouac-influenced trip as Seth Grahame-Smith ingeniously weaves vampire history through Russia's October Revolution, the First and Second World Wars, and the JFK assassination. Expansive in scope and serious in execution, THE LAST AMERICAN VAMPIRE is sure to appeal to the passionate readers who made Abraham Lincoln: Vampire Hunter a runaway success.

Includes approximately 800 British and American poets, past and present, with criticisms drawn from more than 160 journals and 300 books

In 1880s Montana, wounded gunfighter Johnny Cain finds refuge on a sheep farm run by Rachel Yoder, an Amish widow with a small son whose husband was framed and hung. As Cain recovers under Rachel's care, love is born.

From Frederick Forsyth, the grand master of international suspense, comes his most intriguing story ever—his own. For more than forty years, Frederick Forsyth has been writing extraordinary real-world novels of intrigue, from the groundbreaking The Day of the Jackal to the prescient The Kill List. Whether writing about the murky world of arms dealers, the shadowy Nazi underground movement, or the intricacies of worldwide drug cartels, every plot has been chillingly plausible because every detail has been minutely researched. But what most people don’t know is that some of his greatest stories of intrigue have been in his own life. He was the RAF’s youngest pilot at the age of nineteen, barely escaped the wrath of an arms dealer in Hamburg, got strafed by a MiG during the Nigerian civil war, landed during a bloody coup in Guinea-Bissau (and was accused of helping fund a 1973 coup in Equatorial Guinea). The Stasi arrested him, the Israelis feted him, the IRA threatened him, and a certain attractive Czech secret police agent—well, her actions were a bit more intimate. And that’s just for starters. It is a memoir like no other—and a book of pure delight.