""The Way of the Tiger Man"" by Johnny Kahn is a no bullshit, balls-to-the-wall, irreverent tome of philosophy in the spirit of Musashi's ""Book of Five Rings"" raw, unfiltered punk rock set against the immortality of man's stoic wisdom inherited from the conquerors of antiquity. In short: ""Fuck safe spaces!"" and hail to the king. -Ray Long (@officialraylong)

Now a Netflix film starring Julia Roberts, Mahershala Ali, Ethan Hawke, Myha'la, Farrah Mackenzie, Charlie Evans and Kevin Bacon. Written for the Screen and Directed by Sam Esmail. Executive Producers Barack and Michelle Obama, Tonia Davis, Daniel M. Stillman, Nick Krishnamurthy, Rumaan Alam A Read with Jenna Today Show Book Club Pick! Finalist for the 2020 National Book Award in Fiction One of Barack Obama's Summer Reads A Best Book of the Year From: The Washington Post * Time * NPR * Elle * Esquire * Kirkus * Library Journal * The Chicago Public Library * The New York Public Library * BookPage * The Globe and Mail * EW.com * The LA Times * USA Today * InStyle * The New Yorker * AARP * Publisher's Lunch * LitHub * Book Marks * Electric Literature * Brooklyn Based * The Boston Globe A magnetic novel about two families, strangers to each other, who are forced together on a long weekend gone terribly wrong. From the bestselling author of Rich and Pretty comes a suspenseful and provocative novel keenly attuned to the complexities of parenthood, race, and class. Leave the World Behind explores how our closest bonds are reshaped—and unexpected new ones are forged—in moments of crisis. Amanda and Clay head out to a remote corner of Long Island expecting a vacation: a quiet reprieve from life in New York City, quality time with their teenage son and daughter, and a taste of the good life in the luxurious home they’ve rented for the week. But a late-night knock on the door breaks the spell. Ruth and G. H. are an older couple—it’s their house, and they’ve arrived in a panic. They bring the news that a sudden blackout has swept the city. But in this rural area—with the TV and internet now down, and no cell phone service—it’s hard to know what to believe. Should Amanda and Clay trust this couple—and vice versa? What happened back in New York? Is the vacation home, isolated from civilization, a truly safe place for their families? And are they safe from one other?

Sound and statuary have had a complicated relationship in Western aesthetic thought since antiquity. Taking as its focus the sounding statue—a type of anthropocentric statue that invites the viewer to imagine sounds the statue might make—The Sculpted Ear rethinks this relationship in light of discourses on aurality emerging within the field of sound studies. Ryan McCormack argues that the sounding statue is best thought of not as an aesthetic object but as an event heard by people and subsequently conceptualized into being through acts of writing and performance. Constructing a history in which hearing plays an integral role in ideas about anthropocentric statuary, McCormack begins with the ancient sculpture of Laocoön before moving to a discussion of the early modern automaton known as Tipu’s Tiger and the statue of the Commendatore in Mozart’s Don Giovanni. Finally, he examines statues of people from the present and the past, including the singer Josephine Baker, the violinist Aleksandar Nikolov, and the actor Bob Newhart—with each case touching on some of the issues that have historically plagued the aesthetic viability of the sounding statue. McCormack convincingly demonstrates how sounding statues have served as important precursors and continuing contributors to modern ideas about the ontology of sound, technologies of sound reproduction, and performance practices blurring traditional divides between music, sculpture, and the other arts. A compelling narrative that illuminates the stories of individual sculptural objects and the audiences that hear them, this book will appeal to anyone interested in the connections between aurality and statues in the Western world, in particular scholars and students of sound studies and sensory history.

The impulse that prompts humans to envision themselves as heroic is as inherent to women as to men. The idealization of the hero, however, is an outgrowth of the more primary conception of the god. In Western culture the reduction and eventual denial of the feminine divine has affected cultural perception of feminine principles, particularly archetypal and autonomous patterns. This book delves first into the literary strata from which the archetypes have been culled, the stories of the Bible and the myths of the Aegean, to look at how the characterization of the goddess was revised. Employing evidence from psychology, artifacts and pictorial art, the author shapes an outline for a more authentic figure. The obscure and muted goddess-heroine of ancient literature is then given detail by the articulate voices of the archetype as she reemerges in contemporary fiction.

Get The Way is a book that tries to invest its literary devices in discovering the true nature of success by virtue of the fact that it investigates different aspect of man's effort to get the right way to success. The attempt in this poetic story to describe the way is borne out of the desire to bring forth the best of discipline, modesty, comfort and all the empathy and sympathy that go with it. The poetic story is built around some characters Tobenna, Pauliana, Dr Serenade and Verana. The beauty of the works lie in the fact that they can apply to many individuals from many points of views, personality angles and priority focuses. This 100 poems piece is imbued with denotative, connotative as well as subtle trials at spiritual dimensions that make it a possible tribute to God Almighty. The attention of the reader is called from time to time to the interesting power of the Almighty over all that be on earth. The reader is therefore encouraged to make personal meanings out of the poetic story. Tochuwku C. Ipere esq

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times