Tessa doesn't believe in magic. Or Fate. But there's something weird about the dusty unicorn tapestry she discovers in a box of old books. She finds the creature woven within it compelling and frightening. After the tapestry comes into her possession, Tessa experiences dreams of the past and scenes from a brutal hunt that she herself participated in. When she accidentally pulls a thread from the tapestry, Tessa releases a terrible centuries old secret. She also meets William de Chaucy, an irresistible 16th-century nobleman. His fate is as inextricably tied to the tapestry as Tessa's own. Together, they must correct the wrongs of the past. But then the Fates step in, making a tangled mess of Tessa's life. Now everyone she loves will be destroyed unless Tessa does their bidding and defeats a cruel and crafty ancient enemy.

Recent victories for LGBT rights, especially the spread of same-sex marriage, have gone faster than most people imagined possible. Yet the accompanying rise of gay 'normality' has been disconcerting for activists with radical sympathies. Global in scope and drawing on a wide range of feminist, anti-racist and queer scholarship and analysis, Warped: Gay Normality and Queer Anti-Capitalism shows how the successive 'same-sex formations' of the past century and a half, corresponding to different phases of capitalist development, have led both to the emergence of today's 'homonormativity' and 'homonationalism' and to ongoing queer resistance. The book's second half summarises different sexual rebellions and the queer dimension of multifarious movements for social justice and transformation, seeing in them harbingers of a unified and powerful queer anti-capitalism.

We are obsessed with time. However hard we might try, it is almost impossible to spend even one day without the marker of a clock. But how much do we understand about time, and is it possible to retrain our brains and improve our relationship with it? Drawing on the latest research from the fields of psychology, neuroscience, and biology, and using original research on the way memory shapes our understanding of time, acclaimed writer and broadcaster Claudia Hammond delves into the mysteries of time perception. Along the way, she introduces us to an extraordinary array of colourful characters willing to go to great lengths in the interests of research, such as the French speleologist Michel, who spends two months in an ice cave in complete darkness. Time Warped shows us how to manage our time more efficiently, speed time up and slow it down at will, plan for the future with more accuracy, and, ultimately, use the warping of time to our own advantage.

Featuring photographs by Lisa Johnson,The Warped Tour is where extreme music - a blend,of punk, alternative, hip-hop, ska and reggae -,and extreme sports come together. Founded in 1995,it has become the longest-running festival tour in,America, responsible for introducing the world to,No Doubt, Blink 182, Eminem, Papa Roach, Kid Rock,and Limp Bizkit. With over 500,000 dedicated fans,in the U.S. alone, the Warped Tour has also,travelled the world, with dates in Europe, Japan,and Australia. Now this fully-illustrated book,documents the tour's highlights for all its fans.

The universe has many secrets. It may hide additional dimensions of space other than the familier three we recognize. There might even be another universe adjacent to ours, invisible and unattainable . . . for now. Warped Passages is a brilliantly readable and altogether exhilarating journey that tracks the arc of discovery from early twentieth-century physics to the razor's edge of modern scientific theory. One of the world's leading theoretical physicists, Lisa Randall provides astonishing scientific possibilities that, until recently, were restricted to the realm of science fiction. Unraveling the twisted threads of the most current debates on relativity, quantum mechanics, and gravity, she explores some of the most fundamental questions posed by Nature—taking us into the warped, hidden dimensions underpinning the universe we live in, demystifying the science of the myriad worlds that may exist just beyond our own.

How psychological ideas of space have profoundly affected architectural and artistic expression in the twentieth century. Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience—perhaps even the subject itself—of architecture.

The official parody guide to the unaired eighth season of Star Trek: The Next Generation, based on the popular @TNG_S8 Twitter account from creator Mike McMahan! In the basement of the Star Trek archives, behind shelves of U.S.S. Enterprise NCC-1701-D models, bags of wigs, and bins of plastic phasers, sits a dusty cardboard box. Inside is a pile of VHS tapes that contain never-before-seen episodes and behind-the-scenes footage for something truly amazing. The world thinks there are only seven seasons of Star Trek: The Next Generation, but there’s one more. A secret season. Actually, not really. But that didn’t stop Mike McMahan, creator of the parody Twitter account @TNG_S8, from making a guide full of: REAL* TNG SEASON 8 FACTS AND STORIES! REAL* TNG SEASON 8 DIALOGUE AND IMAGES! (* Again, not really, of course. This is humor. Sorry.) So impress your friends and bewilder your enemies with your newfound knowledge of these very lost Star Trek episodes! Engage! ™, ®, & © 2015 CBS Studios, Inc. STAR TREK and related marks and logos are trademarks of CBS Studios, Inc. All Rights Reserved.

The politics of gun policy in the United States are dramatic. Against the backdrop of daily gun violence—which claims more than 33,000 lives per year—gun control groups push for stronger regulations, while gun rights groups resist infringements upon their Second Amendment rights. To illuminate the dynamics of this polarized debate, Warped Narratives examines how and why interest groups frame the gun violence problem in particular ways, exploring the implication of groups’ framing choices for policymaking and politics. Melissa K. Merry argues that the gun policy arena is warped, and that both gun control and gun rights organizations contribute to the distortion of the issue by focusing on atypical characters and settings in their policy narratives. Gun control groups emphasize white victims, child victims, and mass shootings in suburban locales, while gun rights groups focus on self-defense shootings, highlighting threats to “law-abiding” gun owners. In reality, most gun deaths are the result of suicide. Homicides occur disproportionately in urban areas, mainly affecting racial minorities. While warping makes political sense in the short term, it may lead to negative, long-term consequences, including constraints on groups’ ability to build broad-based coalitions and to reduce prospects for compromise. To demonstrate warping, Merry analyzes nearly 67,000 communications by 15 national gun policy groups between 2000 and 2017 collected from blogs, emails, Facebook posts, and press releases. This book is the first to systematically assess the role of race in gun policy groups’ framing and offers the most comprehensive examination to date of interest groups’ presentation of this issue.

Shares humorous anecdotes about zany achievements in baseball history.

“[A] superb study of Russian cultural memory makes all too clear, ghosts of the unburied dead affect literature, art, public life and mental health too.” —The Economist After Stalin’s death in 1953, the Soviet Union dismantled the enormous system of terror and torture that he had created. But there has never been any Russian ban on former party functionaries, nor any external authority to dispense justice. Memorials to the Soviet victims are inadequate, and their families have received no significant compensation. This book’s premise is that late Soviet and post-Soviet culture, haunted by its past, has produced a unique set of memorial practices. More than twenty years after the collapse of the Soviet Union, Russia remains “the land of the unburied”: the events of the mid-twentieth century are still very much alive, and still contentious. Alexander Etkind shows how post-Soviet Russia has turned the painful process of mastering the past into an important part of its political present. “Every page contains fresh, striking insights, not only in the intrinsic value of art itself, but more significantly in the process of mourning. . . . This brilliant book will be indispensable for scholars of mourning theories.” —Choice “There is undoubtedly much that is new and exciting in this study of the impact of state violence on the form and content of art and scholarship in post-Stalin Russia.” —Russian Review “A fascinating and haunting study of how successive Kremlin leaders and the intelligentsia have explained the Gulag and Stalin’s crimes” —Strategic Europe