Lines Were Drawn looks at a group of Mississippi teenagers whose entire high school experience, beginning in 1969, was under federal court-ordered racial integration. Through oral histories and other research, this group memoir considers how the students, despite their markedly different backgrounds, shared a common experience that greatly influences their present interactions and views of the world—sometimes in surprising ways. The book is also an exploration of memory and the ways in which the same event can be remembered in very different ways by the participants. The editors (proud members of Murrah High School's Class of 1973) and more than fifty students and teachers address the reality of forced desegregation in the Deep South from a unique perspective—that of the faculty and students who experienced it and made it work, however briefly. The book tries to capture the few years in which enough people were so willing to do something about racial division that they sacrificed immediate expectations to give integration a true chance. This period recognizes a rare moment when the political will almost caught up with the determination of the federal courts to finally do something about race. Because of that collision of circumstances, southerners of both races assembled in the public schools and made integration work by coming together, and this book seeks to capture those experiences for subsequent generations.

“[Shehadeh's] books are maps, painstakingly pieced together, of regions lost to senseless division, to bad choices, and to lies.” —The Nation “Remarkable and hopeful . . . a deeply honest and intense memoir.” —Gal Beckerman, The New York Times Book Review A moving account of one man’s border crossings—both literal and figurative—by the award-winning author of Palestinian Walks, published on the fiftieth anniversary of the Six Day War In what has become a classic of Middle Eastern literature, Raja Shehadeh, in Palestinian Walks, wrote of his treks through the hills surrounding Ramallah over a period of three decades under Israel’s occupation. In Where the Line Is Drawn, Shehadeh explores how occupation has affected him personally, chronicling the various crossings that he undertook into Israel over a period of forty years to visit friends and family, to enjoy the sea, to argue before the Israeli courts, and to negotiate failed peace agreements. Those forty years also saw him develop a close friendship with Henry, a Canadian Jew who immigrated to Israel at around the same time Shehadeh returned to Palestine from studying in London. While offering an unforgettably poignant exploration of Palestinian-Israeli relationships, Where the Line Is Drawn also provides an anatomy of friendship and an exploration of whether, in the bleakest of circumstances, it is possible for bonds to transcend political divisions.

Don’t Miss Poorly Drawn Lines on Cake, airing on FX and streaming on FX on Hulu! This New York Times bestselling collection of absurd comics is the perfect funny gift for everyone in your life. “Poorly Drawn Lines is the funniest comic I've read since The Far Side.”—Wil Wheaton, actor (Star Trek: The Next Generation; The Big Bang Theory) Life is weird. Embrace it. A bear flies through space. A hamster suffers a breakdown. A child marvels at the wonder of nature as worms emerge from the ground to look for vodka (as they always have). Elsewhere, a garden snake is arrested by animal control and jailed for home invasion. These are common occurrences in the world of Reza Farazmand’s wildly popular webcomic, Poorly Drawn Lines. Traveling from deep space to alternate realities to the bottom of the ocean, this collection includes fan favorites alongside never-before-seen comics and original essays. For the first time, Farazmand shares his inimitable take on love, nature, social acceptance, and robots.

The 35th anniversary edition of the classic how-to book that has helped millions of artists learn to draw. When it was originally published in 1970, How to Draw What You See zoomed to the top of Watson-Guptill’s best-seller list—and it has remained there ever since. “I believe that you must be able to draw things as you see them—realistically,” wrote Rudy de Reyna in his introduction. Today, generations of artists have learned to draw what they see, to truly capture the world around them, using de Reyna’s methods. How to Draw What You See shows artists how to recognize the basic shape of an object—cube, cylinder, cone, or sphere—and use that shape to draw the object, no matter how much detail it contains.

Danger and personal crisis on land, sea, and in the air combine with a level of spiritual warfare that is unparalleled in a Christian book. Apocalypse Burning is a page-turning thriller that runs side by side with the phenomenal Left Behind series, which has sold in excess of 60 million copies. First Sergeant Samuel Adams “Goose” Gander is on the front lines, fighting a battle against superior forces. Goose's wife, Megan, is fighting for her freedom in a court case where all the facts seem stacked against her. Meanwhile, Chaplain Delroy Harte believes that the Rapture may have happened but can't be sure until he has dealt with the demons of his past. Stunning action and technical accuracy ensure this series will satisfy the fans of the original Left Behind series who are looking for more.

As of yet, the remarkable and highly influential textual form of Euclidean mathematics has not been considered from a literary-aesthetic perspective. By its extreme standardization and seeming non-literariness it appears to defy such an approach. This book nonetheless attempts precisely a literary-aesthetic study of the language and style of Euclid’s Elements, focusing on book I. It aims to find out what is literary about the form and what motivates this form as form. In doing so, it employs the concept of clarity, asking: How is the textual form related to logical and communicative clarity? That is, how far is the omnipresent standardization necessary for the accomplishment and successful communication of the proofs? Based on a close analysis of the standardization at all levels of the text (lexicon, grammar, structure, and especially diagram), it argues that the textual form of the Elements is standardized beyond logical-communicative purposes, and that it is in this sense ‘aesthetic’. The book exposes the unexpected literary dimension of Euclid’s Elements, provides a new interpretation of the peculiar form of the work, and offers a model for determining the role of clarity (not only) in Greek theoretical mathematics.

International Law Reports is the only publication in the world wholly devoted to the regular and systematic reporting in English of courts and arbitrators, as well as judgements of national courts.