The book presents a new general theory of language as a collectively-constructed communication technology - not unlike the social media on the Net today - that is dedicated to a very particular communicative function: the instruction of imagination. The theory re-frames all the major questions in the linguistic sciences, and opens the way towards the re-unification of the field.

"You must write a self/ out of waiting/ to speak" asserts Alina Ștefănescu's Dor and oh, what a prismatic, many-headed self has been written into existence within these pages. In her stunning second full-length collection, Ștefănescu explores the worlds contained in the Romanian word Dor- a word close to longing but with no exact English equivalent-as it relates to the speaker's life as a daughter, a mother, a foreign body in a country that harms and holds us conditionally. Simultaneously tender and incisive, witty and full transformations, this book and its many ecosystems of longing and belonging begs to be re-read and promises new wonders each time. - Jihyun Yun, author of Some Are Always Hungry In one of the beautiful poems in the collection, Dor, Alina Ștefănescu writes of a "heart shaped like a shovel." Indeed, Ștefănescu's heart unearths the rich mysteries of an amalgam of Romanian and southern American culture in language deeply shadowed but attentive to the most telling of details. This is a collection that twists form and content into poems that are by turns tender or incendiary, or both. - Erin Coughlin Hollowell, author of Every Atom Alina Ștefănescu's Dor is a compendium of desire, displacement, longing, and belonging. While the word "dor" itself "serves as a bridge which creates its own territory from fusion," here Stefanescu's words do their own act of bridging the spaces between the body and language. In these poems, tongues, like nations, have borders; nouns and verbs come alive with ownership and agency. Part genealogy of influences, part meditation on love, lust, and loss, and part pointed feminist critique, Dor is a multi-faceted collection that creates a newly textured landscape of language. - Emily Holland, author of Lineage and editor of Poet Lore Looking at what makes her heart soar with Dor, Alina Ștefănescu leads us through undilluted layers of loss, love, time, language and identity, showing that "the verb for longing in Romanian is a mouth." The condensed nature of the poems and their wordplay invite the reader into a world of sensation and memory where language shifts and blooms, filling mouth and eyes with delight, where, "any body is a bow, tuned to tremble." - Clara Burghelea, author of The Flavor of the Other Some of the most complicated and haunting songs live inside these poems: nocturnes and fugues, the humming of wordless lullabies, birds who "sing in unpredatored darkness," and most significantly, the doina-a traditional Romanian folk song of intense longing. That longing charges and electrifies this book: an attempt to hold the uncontainable, to name the unnamable, to translate an emotion that can't quite be translated from one language to another. From inside these uncharted spaces, Alina Ștefănescu gifts us with this moving collection and all its rare, disquieting music. - Matthew Olzmann, author of Contradictions in the Design "And what is memory / if not fondled ache..." From the Romanian Republic of Alabama, "where longing is /a homeland", Alina Ștefănescu's Dor sings us back to the forgotten, the lost, the silences we hold and grow; here we learn, "looking back is a way of looking within." These are poems that bruise in the way they remind us we are alive. The book will singe your fingertips, show the life you are sewn into, feed you missing language, and cut through the deep-fake of not feeling. As the poet reminds us, "The danger is not dying but living in exile from / longing." - Amelia Martens, author of The Spoons in the Grass Are There to Dig a Moat

The incredible true story of two WWI POWs who used amateur magic to convince their captors that they were in touch with the spirit world Captured during World War I, Lieutenant E. H. Jones, a Welsh officer in the Indian Army, and Lieutenant C. W. Hill, an Australian serving in the R.A.F., were prisoners of war at the Yozgad prison camp in Turkey. Duty-bound as officers to attempt to escape, Jones sensed that what had previously been the harmless fun of fooling around with a homemade Ouija board could be turned into something much more productive. Playing on the credulous nature of their captors, Hill and Jones weaved an incredibly elaborate plot, hatched to plan their escape. Acting as mediums for the Ouija board, they attempted to convince their captors that they were gradually descending into insanity—which, had it been true, would have seen them repatriated. A true story of bravery, dedication, and extreme hardship, this book is a fascinating insight account of a daring escapade. As well as containing astonishing original materials including photographs, letters, and postcards, the book contains a preface by the author's grandson, as well as a foreword by Neil Gaiman who is linked to a film which is currently in pre-production. A free companion ebook is available to download from the Hesperus website (www.hesperuspress.com/the-road-to-en-dor) which includes back stories on the characters, maps, letters,and coded messages; and an exclusive short story written by Jones.

About this Book... "A major and long overdue addition to the America/English psychoanalytic literature. . . . All major concepts—among them the mirror stage, the Name-of-the-Father, metaphor and metonymy, the phallus, the foreclosure of the subject—are developed in depth." -Nicholas Kouretsas, Harvard Medical School

The contributions to Law and Art address the interaction between law, justice, the ethical and the aesthetic.

The Model Rules of Professional Conduct provides an up-to-date resource for information on legal ethics. Federal, state and local courts in all jurisdictions look to the Rules for guidance in solving lawyer malpractice cases, disciplinary actions, disqualification issues, sanctions questions and much more. In this volume, black-letter Rules of Professional Conduct are followed by numbered Comments that explain each Rule's purpose and provide suggestions for its practical application. The Rules will help you identify proper conduct in a variety of given situations, review those instances where discretionary action is possible, and define the nature of the relationship between you and your clients, colleagues and the courts.

This companion text to Introduction the Reading of Lacan focuses on the concept of the psychic structures of desire. Using case examples, Dor explains the crucial difference between symptomsówhich can be phenomenologically graspedóand the actual psychic structure of the subjectówhich can be revealed only through the discourse of the patient in the psychoanalytic situation. This work brings life and practicality to a psychoanalytic movement that has been misperceived and divorced from the daily vicissitudes of analytic work.

A keepsake collection of beautiful black-and-white coloring pages for parents, children and grandparents to color together and share, featuring Hebrew letters and Judaica images by well-known ketubah artist Judy Freeman. Lay-flat binding for easy coloring.

Features an audio read-along! With a simple, witty story and free-spirited illustrations, Peter H. Reynolds entices even the stubbornly uncreative among us to make a mark -- and follow where it takes us. Her teacher smiled. "Just make a mark and see where it takes you." Art class is over, but Vashti is sitting glued to her chair in front of a blank piece of paper. The words of her teacher are a gentle invitation to express herself. But Vashti can’t draw - she’s no artist. To prove her point, Vashti jabs at a blank sheet of paper to make an unremarkable and angry mark. "There!" she says. That one little dot marks the beginning of Vashti’s journey of surprise and self-discovery. That special moment is the core of Peter H. Reynolds’s delicate fable about the creative spirit in all of us.