Strange Son is the powerful tale of two mothers from opposite sides of the world who, united by their fierce determination to help their severely autistic sons, have challenged everything we thought we knew about autism. Tito Mukhopadhyay, an autistic boy from India who spends most of his time flapping his fingers in front of his eyes, has an IQ of 185. He favors the writings of Wordsworth and Ibsen. He loves philosophy, reads People, and worries about conflict in the Middle East. He also writes beautiful poetry.That Tito can communicate at all is due to his mother, Soma, who single-handedly developed a revolutionary method of teaching him in their one-room apartment in Bangalore, a "classroom" that lacked even running water. Iversen weaves the twin stories of Soma and Tito (and how Soma's methods mystified experts) together with her own story of how she and her family came to understand Dov. The result is a book suffused with uplifting human drama.

This is the story of one couple's 500-mile, 31-day pilgrimage across northern Spain to Santiago de Compostela in 2018.

Tessa falls in love with Rob Nicholls who is relunctant to introduce her to his mother. Just as she's determined to discover the cause of the coolness between mother and son, the mother is murdered.

The Strange Child examines how the Japanese financial crisis of the 1990s gave rise to "the child problem," a powerful discourse of social anxiety that refocused concerns about precarious economic futures and shifting ideologies of national identity onto the young. Andrea Gevurtz Arai's ethnography details the different forms of social and cultural dislocation that erupted in Japan starting in the late 1990s. Arai reveals the effects of shifting educational practices; increased privatization of social services; recessionary vocabulary of self-development and independence; and the neoliberalization of patriotism. Arai argues that the child problem and the social unease out of which it emerged provided a rationale for reimagining governance in education, liberalizing the job market, and a new role for psychology in the overturning of national-cultural ideologies. The Strange Child uncovers the state of nationalism in contemporary Japan, the politics of distraction around the child, and the altered life conditions of—and alternatives created by—the recessionary generation.

This is the fascinating story of one of America's greatest singers, Norman Treigle (1927-1975). Born in the South's most exotic city, New Orleans, he was acclaimed as one of history's finest singing-actors, specialising in rôles that evoked villainy and terror, and was a resident star at the adventurous New York City Opera. In this, the first biography of the legendary bass-baritone, you will read of his colourful life in New Orleans, his self-destructive life-style, the seeming contradictions in his complex character, his passion for the race-track, his enormous voice and emaciated physique, his electrifying stage-presence and astonishing acting ability, why he never sang at the Metropolitan Opera, and his mysterious, sudden death at the age of forty-seven. Read also of his relationships with his closest colleagues, including Beverly Sills, Phyllis Curtin, Jon Vickers, Plácido Domingo, Michael Devlin, Carlisle Floyd, Julius Rudel, Tito Capobianco and Frank Corsaro. Based on the singer's private files, years of extensive research, and interviews with many of his relatives, friends and colleagues, Strange Child of Chaos (a quote from Mefistofele, his greatest triumph) is a tale of the troubled life of an incomparable artist of an elemental power, who bestrode the stage for too brief a moment.

“I intend to stand firm and let the peacocks multiply, for I am sure that, in the end, the last word will be theirs.” —Flannery O’Connor When she was young, the writer Flannery O’Connor was captivated by the chickens in her yard. She’d watch their wings flap, their beaks peck, and their eyes glint. At age six, her life was forever changed when she and a chicken she had been training to walk forwards and backwards were featured in the Pathé News, and she realized that people want to see what is odd and strange in life. But while she loved birds of all varieties and kept several species around the house, it was the peacocks that came to dominate her life. Written by Amy Alznauer with devotional attention to all things odd and illustrated in radiant paint by Ping Zhu, The Strange Birds of Flannery O’Connor explores the beginnings of one author’s lifelong obsession. Amy Alznauer lives in Chicago with her husband, two children, a dog, a parakeet, sometimes chicks, and a part-time fish, but, as of today, no elephants or peacocks. Ping Zhu is a freelance illustrator who has worked with clients big and small, won some awards based on the work she did for aforementioned clients, attracted new clients with shiny awards, and is hoping to maintain her livelihood in Brooklyn by repeating that cycle.

A collecton of comic strips and cartoons by various artists.

In the Hugo-award winning, epic New York Times Bestseller and basis for the BBC miniseries, two men change England's history when they bring magic back into the world. In the midst of the Napoleonic Wars in 1806, most people believe magic to have long since disappeared from England - until the reclusive Mr. Norrell reveals his powers and becomes an overnight celebrity. Another practicing magician then emerges: the young and daring Jonathan Strange. He becomes Norrell's pupil, and the two join forces in the war against France. But Strange is increasingly drawn to the wild, most perilous forms of magic, and he soon risks sacrificing his partnership with Norrell and everything else he holds dear. Susanna Clarke's brilliant first novel is an utterly compelling epic tale of nineteenth-century England and the two magicians who, first as teacher and pupil and then as rivals, emerge to change its history.

In a brilliant performance worthy of the composer, M. T. Anderson and Petra Mathers present a picture-book biography of the singular Erik Satie. Throughout his life, Erik Satie wanted to make a new kind of music, a kind of music both very young and very old, very bold and very shy, that followed no rules but its own. At first glance, Erik Satie looked as normal as anyone else in Paris one hundred years ago. Beyond his shy smile, however, was a mind like no other. When Satie sat down at the piano to compose or play music, his tunes were strange and dreamlike, his melodies topsy-turvy and discordant. Many people hated his music. Few understood it. But to Erik Satie there was sense in nonsense, and the vibrant, surreal compositions of this eccentric man-child would go on to influence many artists.