Lady Baltimore is the classic novel of post-Civil War Charleston life, in the process of healing of wounds of war through Southerners. Written at the turn of century it evokes the enduring charm of old Charleston in contrast ot the values of "the breathless, competing North."

Drawing on a wealth of experience, both in research and teaching the authors of this book have developed a text that integrates reputation, responsibility, ethics and accountability.

In combining practice and theory, this textbook provides a management perspective on the 'business case' for sustainability. Drawing on examples from 20 frontrunner companies located in the Netherlands, it builds upon a unique research project in which CEOs and middle-managers gave access not only to their decision-making process, but also revealed how their perceptions shaped the transition process. This book identifies four different archetypes of business cases and related business models that business students and managers can use to identify phases and related attitudes towards sustainability. The book provides in-depth analysis and insight into: * theoretical concepts and an overview of the relevant literature * the different business cases for sustainability * behavioural characteristics of each phase and the typical barriers between them * more than 70 tipping points * approaches to shaping stakeholder dialogue * effective engagement of stakeholders in each phase of transition * how companies move through the phases towards higher levels of sustainability * insights of employees of the 20 companies whether the business case was really achieved * summary of the interventions which have proved successful in these companies. This book offers students as well as managers of vocational and academic institutions at undergraduate and postgraduate level insight into real-life transition processes towards sustainability.

Recite your poem to your aunt. I threw myself to the ground. Where were you in the night? In a school among the pines. What was the meaning of the dream? Organs, hormones, toxins, lesions: what is a body? In 3 Summers, Lisa Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell. "Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully."—The New York Times "Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture."— The Village Voice Lisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

Sean Bonney offers a user's report on the end of the world, a treatise against Tory terror, a proposal for a new zodiac, a defence of poetry and a hex against the devourers of planet Earth. The letters and fierce epistolary poems provide a vivid account of the sheer panic and brutality of the austerity years.

A practical and concise introduction to CoffeeScript, a programming language that compiles into JavaScript and that makes working with JavaScript easier. The book lays out the basics of the language, its syntax, and the interesting features that set it apart from JavaScript. It should satisfy anyone with an intermediate level of understanding of JavaScript who needs a conceptual and practical introduction to CoffeeScript. The book is based around a practical project, leading you through the building of a simple HTML-based 2D game, and explaining the language's philosophy, syntax, and features step-by-step along the way. You'll be able to see results on-screen from the very beginning, starting with a simple JavaScript drawing function transformed into CoffeeScript. The game's code is based on well- understood principles and prior art, using common, simple programming patterns that are easy to grasp while also demonstrating CoffeeScript's expressiveness. This is a fun and fast-paced book that rewards you for each completed step with interesting game features. You will finish the book with the sense of accomplishment that comes from building something fun, as well as having gained a solid understanding of CoffeeScript and an interest in exploring its more advanced features.

The 72 poems in Kim Kardashian's Marriage mark out equally sharpened lines of public and private engagement. Kim Kardashian's 2011 marriage lasted for 72 days, and was seen by some as illustrative of celebrity life as a performance, as spectacle. Whatever the truth of this (and Kardashian's own statements refute it), Sam Riviere has used the furor as a point of ignition, deploying terms from Kardashian's make-up regimen to explore surfaces and self-consciousness, presentation and obfuscation. His pursuit is toward a form of zero-privacy akin, perhaps, to Kardashian's own life, that eschews a dependence upon confessional modes of writing to explore what kind of meaning lies in impersonal methods of creation. The poems have been produced by harvesting and manipulating the results of search engines to create a poetry of part-collage, part-improvisation. The effect is as refractive as it is reflective, and disturbs the slant on biography through a bricolage of recycled and cross-referenced language, until we are left with a pixellation of the first person.