"English translation first published in 2015 by Sort Of Books, London"--Colophon.

The Encircling Trilogy comes thundering to a close as the man at the center is revealed The final book in Carl Frode Tiller’s groundbreaking Encircling Trilogy is here. In Barbara Haveland’s powerful translation, two new letters circle closer than ever to David, who allegedly lost his memory. One is from Marius, who has led the life of wealth and privilege that David was meant to live. And yet Marius does not appreciate it—desperate for attention, he lies to his girlfriend, with disastrous consequences. The other comes from Susanne, an ex-lover whose affair with David led to the breakup of her marriage. Humiliated by David’s unflattering portrayal of her in his novel, Susanne is determined to exact revenge on him in the most painful possible way. Last of all we come face-to-face with David himself: a frustrated writer whose early successes have faded. His therapy sessions seem to reveal a dangerous and violent individual bent on getting what he wants at any cost. With David’s own story told, the last piece falls into place, and his true character is unveiled. But as with books one and two, there are twists and turns that upset expectations and leave the reader wondering whom to believe. Across three books, Tiller’s incisive character portraits lay bare the inequalities of class and excesses of wealth in Norwegian society. With Encircling 3: Aftermath, Tiller sounds the unexplored depths of David’s life, in the culmination of this astonishing feat of psychological realism.

David has lost his memory. A newspaper advert appears asking friends and relatives to share their memories of him. Three respond: his two closest teenage friends, and his stepfather, now estranged, from his backwater hometown of Namsos. Their reminiscences of teenage nihilism and rebellion, the eroticism and uncertainties of first love, and intense experiments in art and music, are framed by present day scenes of lives run aground on thwarted ambition and intimacy. Told in letters, interleaved with internal monologues and commentaries, Encircling provides a dark, searingly honest portrait of life at the edges of provincial Norway. Yet for all its apparent bleakness, Tiller's remarkable opening novel of the Encircling Trilogy pulses with humanity and truth. As each narrative colours and reshapes the last, the enigma that is David continues to intrigue us.

These three hundred prayers from more than sixty countries reflect the ecumenical and international character of the Christian community. Themes include work and rest, war and peace, family and community, grief and joy, poverty and plenty, and churches and nations.

"To remind David of the memories he lost, three friends write about his childhood in Otter2ya: Ole, a farmer struggling to save his floundering marriage; Tom Roger, a rough-edged and violent outsider; and Paula, a former midwife harboring an explosive secret"--Provided by publisher.

"A collection of writings, essays, and calligrams, framed behind movement through the Encircling Lake, a Ho-Chunk way of describing the boundaries of the earth. The calligrams take the shape of effigy mounds and intaglios, and the writings maneuver between the complicated relationships of family, identity, and their intersections within Hopinka’s video work"--Author's website.

This study suggests the development of the cartouche was closely related to the monumental encircling symbolism incorporated into the architectural designs of the Old Kingdom pyramids. By employing a new architectural style and a new iconographic symbol, the pharaoh sought to elevate his status above that of the members of his powerful court.

Modern is a word much used, but hard to pin down. In Inventing Modern, John H. Lienhard uses that word to capture the furious rush of newness in the first half of 20th-century America. An unexpected world emerges from under the more familiar Modern. Beyond the airplanes, radios, art deco, skyscrapers, Fritz Lang's Metropolis, Buck Rogers, the culture of the open road--Burma Shave, Kerouac, and White Castles--lie driving forces that set this account of Modern apart. One force, says Lienhard, was a new concept of boyhood--the risk-taking, hands-on savage inventor. Driven by an admiration of recklessness, America developed its technological empire with stunning speed. Bringing the airplane to fruition in so short a time, for example, were people such as Katherine Stinson, Lincoln Beachey, Amelia Earhart, and Charles Lindbergh. The rediscovery of mystery powerfully drove Modern as well. X-Rays, quantum mechanics, and relativity theory had followed electricity and radium. Here we read how, with reality seemingly altered, hope seemed limitless. Lienhard blends these forces with his childhood in the brave new world. The result is perceptive, engaging, and filled with surprise. Whether he talks about Alexander Calder (an engineer whose sculptures were exercises in materials science) or that wacky paean to flight, Flying Down to Rio, unexpected detail emerges from every tile of this large mosaic. Inventing Modern is a personal book that displays, rather than defines, an age that ended before most of us were born. It is an engineer's homage to a time before the bomb and our terrible loss of confidence--a time that might yet rise again out of its own postmodern ashes.

We were going out stealing horses. That was what he said, standing at the door to the cabin where I was spending the summer with my father. I was fifteen. It was 1948 and oneof the first days of July. Trond's friend Jon often appeared at his doorstep with an adventure in mind for the two of them. But this morning was different. What began as a joy ride on "borrowed" horses ends with Jon falling into a strange trance of grief. Trond soon learns what befell Jon earlier that day—an incident that marks the beginning of a series of vital losses for both boys. Set in the easternmost region of Norway, Out Stealing Horses by Per Petterson begins with an ending. Sixty-seven-year-old Trond has settled into a rustic cabin in an isolated area to live the rest of his life with a quiet deliberation. A meeting with his only neighbor, however, forces him to reflect on that fateful summer.

Poetry. LGBT Studies. Politics. Ecopoetics. Covers letterpressed by the author. Mycelium is the largest organism on the planet. It is the collective root structure from which all mushrooms emerge. It lives three inches under the ground and can span for thousands of acres. Any of its threads can connect to the collective body at any point. ALMOST ANY SHIT WILL DO pulls language from mycelium studies to investigate the underground of political unrest, from its emergence as riots to the single moment of impact: a body in protest thrown to the ground by the cop. How can we mark the shifting boundary between the individual and the movement in the midst of a riot? It is in the continuous attempt to define these terms that we begin to articulate the utopia that is always already happening, three inches below the surface. "This is the space of the underground, where the intersection evidences the site of violence as a weight that pulls our attention via contours in the grid. Here, the lines bend around the individual and extend that body into the multitude: the movement, ALMOST ANY SHIT WILL DO is a statement of rage, where, when pushed to the edge, we might learn the most from a silent source the ultimate Other." JH Phrydas"