In this collection, E. Alex Pierce enters the territory of memory embedded in landscape where “language tied to the land” evokes the cadence of tidal rivers and creates a fluid world. She traces the fragmented childhood beginnings that lead to the formation of a young artist who moves from music, through theatre, to poetry. The passionate relationships and complex juxtapositions of art and performance that form an artist’s life find voice here in the symphonic structure of the long poem, the provocative individual prose poems, and the final stretched sonnet sequence that interrogates a lost love, “Still. Shimmering in the morning wind. And gone.” These fiercely poised works are layered and rich, with sensuous attention to line and breath: a major work from an accomplished poet. And in that space of summer afternoon, the image born of sound and light inhabits all her blood and bone, the mind ignites. She sees the fire – space for her is stage now, theatre is the flame. She sees it burning all the way back to the Sable River, the lamp, the voices, the two old people, in the dark, without wall or roof or post or beam – and even as her father buries refuse in the cellar hole, turns all this under, she seizes it, picks up her torch, and runs. —from the title poem

The New York Times bestselling author teaches practical strategies for maximizing your chances—no matter how unlikely the crisis. This fast-paced yet level-headed survival guide from the author of Prepare for Anything breaks down the odds of facing dozens of scary situations, from the fairly likely (like getting lost in the woods) to the unlikely but terrifying (being hit by an asteroid, attacked by zombies, or other sci-fi-worthy scenarios). It then provides concrete strategies for improving your odds of survival. Each danger is rated with handy graphics that give an-at-a-glance idea of how likely it is to happen, how much you should worry about it, and how possible it is to survive if it happens to you. In the pages that follow, survival expert Tim MacWelch gives step-by-step instructions, tutorials, and hints to help you beat the odds and live to tell the tale.

All work is work in progress. The ideas developed in this work could be (and probably will be) developed further, revised, and expanded. But it was time to write them down and send them out. Some of these ideas about linking had their origins in my 1987 dissertation. However, this work has grown beyond the dissertation in a number of important ways. The most important of these advances lie in, first, articulating aspectual roles as linguistic objects over which lexical semantic phenomena can be stated, and over which linking generalizations are stated; second, recognizing that syntactic phenomena may be classified as to whether or not they are sensitive to the core event of event structure; and third, recognizing the modularity of aspectual and thematic/conceptual structure, and associating that modularity with a difference between language-specific and universal language generalizations. The three chapters of the book are organized around these ideas. I have tried to state these ideas as strong theses. Where they make strong predictions I have meant them to do so, as a probe for future research. I hope that other researchers will take up the challenge to investigate, test and develop these ideas across a wider realm of languages than I --as one person --can do.

This book examines in detail the acceptability status of sentences in the following five English constructions, and elucidates the syntactic, semantic, and functional requirements that the constructions must satisfy in order to be appropriately used: There-Construction, (One’s) Way Construction, Cognate Object Construction, Pseudo-Passive Construction, and Extraposition from Subject NPs. It has been argued in the frameworks of Chomskyan generative grammar, relational grammar, conceptual semantics and other syntactic theories that the acceptability of sentences in these constructions can be accounted for by the unergative–unaccusative distinction of intransitive verbs. However, this book shows through a wide range of sentences that none of these constructions is sensitive to this distinction. For each construction, it shows that acceptability status is determined by a given sentence's semantic function as it interacts with syntactic constraints (which are independent of the unergative–unaccusative distinction), and with functional constraints that apply to it in its discourse context.

In Britain, 600 people die of drowning every year. This book explains why it is so easy to drown, where accidents happen, and how to save victims’ lives.

Alexei has a secret. He is an angel who has decided to remain on Earth to live life as an eleven-year-old child, after completing his “mission,” He believes he is the only angel attempting to live as a human and, as a result, must constantly hide his wings and other angel abilities. Having survived an attempt on his life by an evil angel after helping his human family, Alexei is about to have unexpected company arrive in the form of a brother boy-angel. The only problem is that for this to happen, a tragic event must also take place. An event about which Alexei has been sworn to absolute secrecy, even though it will most likely result in hurting someone rather close to his heart. As a further complication, a link to the past will unexpectedly cause him and his new angel brother to also be in considerable danger.

There is beauty in the teacup like dresses requiring crinoline or beaded purses too small to carry anything but anger. — from “Inheritance” Marita Dachsel’s third poetry collection explores parenthood, love, and the grief of losing those both close and distant. In the tradition of Karen Solie and Suzanne Buffam, and with a touch of Canadian Gothic, Dachsel’s poetic skills unfold in a variety of brief and expansive forms. Authentic and controlled, full of complexity and disorder, her poems offer release despite their painful twists and topics. Readers across generations will find kinship in Dachsel’s grief-fuelled and vulnerable words.

Red Peonies: Two Novellas of China is the first translation in English of two of the books written by Zhang Yihe about women she met and befriended in prison. The subjects of her stories have been described as “beautiful women who wielded magic power over men. They were like jealous evil spirits, vengeful treacherous persons—countless snakes coiled around other people.” Zhang Yihe was fifteen in 1957, the year her father was declared an enemy of the People’s Republic of China. Denounced as the nation’s Number One Rightist, he was persecuted by Chairman Mao. Zhang herself was arrested at age twenty-eight and sentenced to twenty-one years in a remote labor prison. While in the women’s prison, she came to know the other inmates, most of whom were from farms and lacked education. In 2011, at age seventy, she began to write and publish her fictionalized accounts of some of the women. The novellas were quickly censored in China, but have become widely popular in pirated, unexpurgated editions in the PRC, Hong Kong, and Taiwan. Zhang Yihe is now an outspoken advocate of free expression. Red Peonies contains the first two novellas in Zhang’s projected series of ten. Never before translated into English, the works are powerfully written, tender, and sorrowful. They bring to life the stories of Chinese women caught in the turmoil of the Cultural Revolution. This volume includes the work of Xing Danwen, an internationally known artist based in Beijing.