"Partial Stories takes readers to Malawi, where roughly one in twenty women can expect to die of a pregnancy or childbirth complication, despite decades of safe-motherhood programs. The stories of these mothers are told in hospitals and villages, by chiefs and doctors, herbalists and nurses, epidemiologists and healers, and competing explanations proliferate. The mothers' stories are used by elders for technical education and moral instruction at a coming-of-age-ritual, a district hospital's mortality review, and in the reflected glow of a computer screen at an international conference. After orienting readers to urban Malawi's context of therapeutic pluralism and material scarcity, Claire Wendland discusses the ways various experts account for maternal death, showing how their diverse explanations reflect competing visions of the past and shared concerns about social change. She looks to a series of pregnancy-related deaths in order to consider bodies as biosocial phenomena, shaped from before birth by history and social inequality. Wendland reveals an uneven therapeutic landscape that pushes experts to improvise, clinically and ethically. Their creative, essential, and sometimes deadly improvisations ask us to reconsider the "best practice" dogmas of global health and transnational research, as well as the nature of medical authority and expertise. Wendland demonstrates how strategies of legitimation render care more dangerous and knowledge more partial than it might otherwise be"--

Poetry. "I love this book so much. A work of meticulous craft and profound originality, Mary Biddinger's newest collection of prose poems is one of the best books I've read on our historical moment and the decades that led to it. PARTIAL GENIUS reads like a dossier of the psychological landscape of late capitalist America and the end of empire. In the tradition of John Ashbery, but wholly original in her own vision and voice, Biddinger draws from a deep well of poetic intellect and wit to illuminate the existential threats and imaginative possibilities of our collective self-destruction. In 'The Subject Pool' the speaker watches a man tattoo AU COURANT around her thigh. The tattoo artist has no idea. Every poem is chock-full of revelations in every detail. Reading this book felt like sitting by the fire in some secret location with a double agent, smoking her pipe telling tales of all that went down right in front of our faces, while we were all driven to distraction by outrage. To paraphrase Kim Gordon of Sonic Youth, She's got it all in this book."--Heather Derr-Smith "'How many days since you began your last panic...?' Mary Biddinger asks in her latest collection. Quirky, imaginative, and wry in tone, PARTIAL GENIUS is a book that thwarts expectation, turns convention on its head, surprises and delights. Within a narrative scaffolded like a twisting stairway or maze-like hall, these fascinating poems feature high school reunions, job interviews, broken dioramas, and birth control pills; they showcase apologies, parlor games, and consolation prizes, intricacies, illusions, and tricks. Comfort is found in a bar of bathroom soap. An assistant manager wonders why a blazer is named for fire. A radio is implanted in the chest as a companion to the heart. Spheres of uncertainty juxtaposed against landscapes of failure create the book's complex beauty and dangerous edge, as Biddinger claims, 'The best part of figure skating was getting cut.' PARTIAL GENIUS comes to us as both a study of despair and a gleaming beacon of hope."--Jennifer Militello

Textbook

For fans of The Hunger Games, Battlestar Galactica, and Blade Runner comes the first book in the Partials Sequence, a fast-paced, action-packed, and riveting sci-fi teen series, by acclaimed author Dan Wells. Humanity is all but extinguished after a war with Partials—engineered organic beings identical to humans—has decimated the population. Reduced to only tens of thousands by a weaponized virus to which only a fraction of humanity is immune, the survivors in North America have huddled together on Long Island. But sixteen-year-old Kira is determined to find a solution. As she tries desperately to save what is left of her race, she discovers that that the survival of both humans and Partials rests in her attempts to answer questions about the war's origin that she never knew to ask. Playing on our curiosity of and fascination with the complete collapse of civilization, Partials is, at its heart, a story of survival, one that explores the individual narratives and complex relationships of those left behind, both humans and Partials alike—and of the way in which the concept of what is right and wrong in this world is greatly dependent on one's own point of view. Supports the Common Core State Standards

James Thompson explores the problems of theatre practice in communities affected by war and exclusion. Each chapter or "story" is written in a lively and accessible style and draws on a range of contemporary performance theories.

WHAT IS THE STORY GRID? The Story Grid is a tool developed by editor Shawn Coyne to analyze stories and provide helpful editorial comments. It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult). The Story Grid is a tool with many applications: 1. It will tell a writer if a Story ?works? or ?doesn't work. 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story'the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation.

Includes stories featured in Pantheon—now an animated series on AMC+ “I know this is going to sound hyperbolic, but when I’m reading Ken Liu’s stories, I feel like I’m reading a once-in-a-generation talent. I’m in awe.” —Jamie Ford, New York Times bestselling author “Captivating.” —BuzzFeed “Extraordinary.” —The Washington Post “Brilliant.” —The Chicago Tribune With the release of The Paper Menagerie and Other Stories, Ken Liu’s short fiction has resonated with a generation of readers. From stories about time-traveling assassins, to Black Mirror-esque tales of cryptocurrency and internet trolling, to heartbreaking narratives of parent-child relationships, The Hidden Girl and Other Stories is a far-reaching work that explores topical themes from the present and a visionary look at humanity’s future. This collection includes a selection of Liu’s speculative fiction stories over the past five years—seventeen of his best—plus a new novelette. In addition, it also features an excerpt from The Veiled Throne, the third book in Liu’s epic fantasy series The Dandelion Dynasty. Stories include: Ghost Days; Maxwell's Demon; The Reborn; Thoughts and Prayers; Byzantine Empathy; The Gods Will Not Be Chained; Staying Behind; Real Artists; The Gods Will Not Be Slain; Altogether Elsewhere, Vast Herds of Reindeer; The Gods Have Not Died in Vain; Memories of My Mother; Dispatches from the Cradle: The Hermit—Forty-Eight Hours in the Sea of Massachusetts; Grey Rabbit, Crimson Mare, Coal Leopard; A Chase Beyond the Storms (an excerpt from The Veiled Throne, Book 3 of the Dandelion Dynasty); The Hidden Girl; Seven Birthdays; The Message; Cutting

A pathbreaking study of political culture in the United States, Britain, and Canada, Partial Visions demonstrates how popular culture--expressed through television soap operas and comedies, civics and history textbooks, magazine advertisements, and corporate publications and recruitment leaflets--subtly deflects and suppresses democratic political action. Richard Merelman argues that political messages embedded in popular culture weaken the division between public and private and between society and the individual. These "partial visions" of democracy are idealized yet inequitable, revelatory yet distorted. As a result, issues that might galvanize useful group conflict do not emerge, and the full potential for public participation in a liberal democracy remains unrealized. Britain, Canada, and the United States share a liberal political culture but differ in their historical evolution and in the structure of their institutions. Each country, Merelman suggests, has developed a distinctive popular culture that shapes public opinion and stifles political debate in nationally specific ways. Different rhetorical devices and metaphors operate in each nation, he points out; in Britain, for example, the monarchy and party system serve as symbols of political reconciliation between the individual and the collectivity. Characterizing the United States as a culture of "institutionalized individualism" and Canada as a culture of emotionally tepid group conflict, Merelman finds Britain's culture of group-based political debate the most successful in encouraging democratic participation. Drawing on symbolic anthropology, poststructuralist literary theory, and positivistic analyses of attitudes and media influence, Merelman conducts a controlled comparison of media representations, political discourse, and public opinion, using rich, complex sets of quantitative and qualitative data . He concludes that culture is not reducible to institutional interests but is intelligible as a whole structure; furthermore, culture can and sometimes does change the contours of political conflict.