Sound-Rage is a little known syndrome (known as misophonia) characterized by an anger response to sounds. The primer is the first scientific study of the disorder and provides compelling evidence that it is a developmental, neurological disorder. How the brain processes information, multi-sensory processing, and therapies are addressed.

From New York Times best-selling author Thea Harrison comes a vintage contemporary romance, as originally published under the pen name Amanda Carpenter in 1985. Model Jessica King had success, wealth, and a no-strings relationship with businessman Damien Kent that she was certain would develop into more. Then Damien announced his intention to marry another woman in a business agreement…and keep Jessica as his mistress. Devastated and angry, Jessica knows it’s time to move on. Leaving Damien shattered her heart, and then a devastating car accident shattered her body and spirit. Disfigured, Jessica is forced to abandon her modeling career and the charmed life she’d known. Hiding away from the world, she’s determined to seal herself off from anyone who may hurt her. But Damien has realized he’s not ready to let Jessica go. She needs time to heal her wounds, both physical and emotional. Can Damien become the man she’s always wanted him to be? Can he convince her to rejoin a world that’s brought her so much pain? Or will Jessica’s rage be too much of an obstacle to overcome?

***A BEST BOOK OF 2018 SELECTION*** NPR * The Washington Post * Book Riot * Autostraddle * Psychology Today ***A BEST FEMINIST BOOK SELECTION*** Refinery 29, Book Riot, Autostraddle, BITCH Rage Becomes Her is an “utterly eye opening” (Bustle) book that gives voice to the causes, expressions, and possibilities of female rage. As women, we’ve been urged for so long to bottle up our anger, letting it corrode our bodies and minds in ways we don’t even realize. Yet there are so, so many legitimate reasons for us to feel angry, ranging from blatant, horrifying acts of misogyny to the subtle drip, drip drip of daily sexism that reinforces the absurdly damaging gender norms of our society. In Rage Becomes Her, Soraya Chemaly argues that our anger is not only justified, it is also an active part of the solution. We are so often encouraged to resist our rage or punished for justifiably expressing it, yet how many remarkable achievements would never have gotten off the ground without the kernel of anger that fueled them? Approached with conscious intention, anger is a vital instrument, a radar for injustice and a catalyst for change. On the flip side, the societal and cultural belittlement of our anger is a cunning way of limiting and controlling our power—one we can no longer abide. “A work of great spirit and verve” (Time), Rage Becomes Her is a validating, energizing read that will change the way you interact with the world around you.

Jay Carlton has everything in life going for him; he's handsome, sixteen with his own car, the star running back for his high school football team, and a beautiful cheerleader to call his own. His life may seem perfect to everyone around him but is it really? He has spent his entire childhood cringing at the sounds of his mother being verbally and physically abused by his father. Will he be next?

Noise is usually defined as unwanted sound: loud music from a neighbor, the honk of a taxicab, the roar of a supersonic jet. But as Garret Keizer illustrates in this probing examination, noise is as much about what we want as about what we seek to avoid. In a journey that leads us from the primeval Tanzanian veldt to wind farms in Maine, Keizer invites us to listen to noise in history, in popular culture, and not least of all in our own backyards. He follows noise throughout history and across the globe. He considers what it has to tell us about today's most pressing issues, from social inequality to climate change. The result is guaranteed to change how we hear the world, and how we measure our own personal volume within it.

In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical—as opposed to a dramatic—necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.