Things change quickly in the world of espionage and clandestine operations. Jude Lyon of MI6 remembers the captured terrorist bomb-maker. He watched him being flown off to Syria, back when Syria was 'friendly'. No-one expected him to survive interrogation there. Yet the man is alive and someone has broken him out of jail. Bad news for the former foreign secretary who authorised his rendition. And Jude's boss Queen Bee who knew he wasn't a terrorist at all, but an innocent bystander. Now she calls Jude back from a dangerously enjoyable mission involving a Russian diplomat's wife. He has a new job: close down this embarrassment. Fast. But embarrassment is only the beginning. Someone is using the former prisoner to front a new and unspeakably terrifying campaign. Someone not even ISIS can control. He is like a rumour, a myth, a whisper on the desert wind. But he is real and he is coming for us ... He is the genius known only as ... The Stranger. From the corridors of Westminster to the refugee camps of Jordan, the back streets of East London to the badlands of Iraq, The Stranger is a nerve-shredding journey of suspense as Jude Lyon pieces together the shape of an implacable horror coming towards him - and a conspiracy of lies behind him.
What did it feel like to be an openly Jewish soldier fighting alongside German troops in WWII? Could a Jewish nurse work safely in a field hospital operating theater under the supervision of German army doctors? Several hundred members of Finland’s tiny Jewish community found themselves in absurd situations like this, yet not a single one was harmed by the Germans or deported to concentration or extermination camps. In fact, Finland was the only European country fighting on either side in WWII that lost not a single Jewish citizen to the Nazi’s “Final Solution.” Strangers in a Stranger Land explores the unique dilemma of Finland’s Jews in the form of a meticulously researched novel. Where did these immigrant Jews—the last in Europe to achieve citizenship status—come from? What was life like from their arrival in Finland in the early nineteenth century to the time when their grandchildren perversely found themselves on “the wrong side” of WWII? And how could young lovers plan for the future when not only their enemies but also their country’s allies threatened their very existence? Seven years researching Finland’s National Archives plus numerous in-depth interviews with surviving Finnish Jewish war veterans provide the background for a narrative exploration of love, friendship, and commitment but also uncertainty and terror under circumstances that were unique in the annals of “The Good War.” The novel’s protagonists—Benjamin, David and Rachel—adopt varying survival strategies as they struggle with involvement in a brutal conflict and questions posed by their dual loyalty as Finnish citizens and Zionists committed to the creation of a Jewish homeland. Tensions mount as the three young adults painfully work through a relationship love triangle and try to fulfill their commitments as both Jews and Finns while their country desperately seeks to extricate itself from an unwinnable war.
If I had an arm missing, people would understand. But I don't - I have Body Dysmorphic Disorder."BDD is an obsessive-compulsive related disorder where the affected person is dominated by a false belief that his or her appearance is unusually defective. The distress it causes can play havoc with the sufferer's social, domestic and working life and lead to years of social isolation, as Simon Antony knows all too well. This book is the storyof how he faced, battled with and finally learned to live with this little recognised but psychologically crippling condition.
An extraordinary work of fiction, inspired by historical events--an exquisitely crafted double portrait of a Nazi war criminal and a family savaged by World War II, conjoined by an actual house of horrors they both called home On a street in modern-day Norway, a writer kneels with his son and tells him that according to Jewish tradition, a person dies twice: first when their heart stops beating, and then again the last time their name is read or thought or said. Before them is a stone engraved with the name Hirsch Komissar, the boy's great-great-grandfather who was murdered by Nazis. The man who sent Komissar to his death was one of Norway's vilest traitors, Henry Oliver Rinnan, a Nazi double agent who set up headquarters in an unspectacular suburban house and transformed the cellar into a torture chamber for resisters, a place to be avoided and feared. That is until Komissar's own son, Gerson, and his young wife, Ellen, take up residence in the house after the war. While their daughters spend a happy childhood playing in the same rooms where some of the most heinous acts of the occupation occurred, the weight of history threatens to pull the couple apart. In Keep Saying Their Names, Simon Stranger uses this unusual twist of fate to probe five generations of intimate and global history, seamlessly melding fact and fiction, creating a brilliant lexicon of light and dark. The resulting novel reveals how evil is born in some and courage in others--and seeks to keep alive the names of those lost.
Artist Simon Lewty is known for his large scale and intensely detailed works where the layering of text and image serve to create a dream-like reality. Narrative is rarely followed through to conclusion, yet we are compelled to immerse ourselves in Lewty's rich representation of body and landscape. Visually reminiscent of ancient documents and comparable to maps, Lewty's text-based works explore forgotten worlds of light and darkness, offering a reflective sense of history and exploring the inevitability of the passing of time. The writers whose words have been selected to accompany this comprehensive survey of Lewty's work provide an in-depth study of the artist, shedding light on his key ideas and working method. The book opens with a foreword from Ian Hunt and contributors from a variety of disciplines include Stuart Morgan, Paul Hills, Peter Larkin, Cathy Courtney and Susan Michie, as well as texts from Lewty himself, including memories from his childhood, through to more recent reflections on his life and art. Lewty's work has been exhibited widely and is included in collections at the Arts Council of Great Britain, Victoria and Albert Museum, to Miami Beach, USA, where he is represented in the Ruth and Marvin Sackner Archive of Visual and Concrete Poetry. The Self As a Stranger is published to coincide with a major exhibition at Art First in September, showing the comprehensive and highly original collection of this artist's work from over the past 50 years and pointing out the enduring importance of Simon Lewty's contribution to contemporary fine art. SELLING POINTS * The Self as a Stranger offers a detailed view of the extraordinary career and work of artist Simon Lewty, bringing together a collection of works from 1957 to the present. * British artist Lewty has been integrating word and image in his drawings and paintings for over 30 years. His work has a distinctive style, a combination of visual symbolism and calligraphy rooted in Medieval illumination and map-making traditions. * The artworks featured in The Self as Stranger are accompanied by critical writings on his work from a variety of contributors, providing insights and perspectives in keeping with the breadth of his career. * The Self as a Stranger is published to coincide with a major exhibition of the artist's at Art First, London in September 2010. AUTHORS Ian Hunt is a London based writer, curator and lecturer. He writes widely on contemporary art and is currently a lecturer in ine art at University College for the Creative Arts, Canterbury. Stuart Morgan was Britain's foremost writer on contemporary art throughout the 1980s and mid-1990s. He contributed to Artscribe, US magazines Art Forum and Arts Magazine and other major periodicals. Paul Hills has lectured at Warwick University, directed the History of Art programme in Venice, and been a visiting professor at the Institute of Fine Arts, New York; Villa I Tatti, The Harvard Center for Renaissance Studies; and the Royal College of Art. In 2003 he was appointed Andrew Mellon Visiting Professor at the Courtauld Institute of Art. Peter Larkin is the author of several volumes including Terrain Seed Scarcity (Salt Publishing, Cambridge, 2002), and three recent chapbooks from The Gig: Rings Resting the Circuit, Sprout Near Severing Close and What the Surfaces Enclave of Wang Wei. Cathy Courtney is a freelance writer and oral historian, Trustee of the archive of theatre designer Jocelyn Hebert and is a research professor at Wimbledon College of Art. Courtney is the author of several books, has written for numerous art and architecture journals and contributed towards publications such as Artscribe, Blueprint, The Independent, The Observer and The Times. Susan Michie is a practising artist based in Dorset. ILLUSTRATIONS 150 colour & b/w illustrations
Embark on an explosive 3D journey through the world of Netflix’s hit series Stranger Things. Netflix’s Emmy Award–winning series Stranger Things has captivated the imaginations of millions of viewers all around the world. Now fans can experience the series like never before with stunning, pop-off-the-page re-creations of iconic moments from the show. Inside, readers will adventure alongside Eleven and Mike Wheeler, crack the Russian code with Steve Harrington at Scoops Ahoy, face off against the terrifying Demogorgon, and much more. Featuring five richly detailed spreads packed with jaw-dropping pops, Stranger Things: The Ultimate Pop-Up Book is an explosive, must-have guide to Hawkins, Indiana, the Upside Down, and beyond.
What did it feel like to be an openly Jewish soldier fighting alongside German troops in WWII? Could a Jewish nurse work safely in a field hospital operating theater under the supervision of German army doctors? Several hundred members of Finland’s tiny Jewish community found themselves in absurd situations like this, yet not a single one was harmed by the Germans or deported to concentration or extermination camps. In fact, Finland was the only European country fighting on either side in WWII that lost not a single Jewish citizen to the Nazi’s “Final Solution.” Strangers in a Stranger Land explores the unique dilemma of Finland’s Jews in the form of a meticulously researched novel. Where did these immigrant Jews—the last in Europe to achieve citizenship status—come from? What was life like from their arrival in Finland in the early nineteenth century to the time when their grandchildren perversely found themselves on “the wrong side” of WWII? And how could young lovers plan for the future when not only their enemies but also their country’s allies threatened their very existence? Seven years researching Finland’s National Archives plus numerous in-depth interviews with surviving Finnish Jewish war veterans provide the background for a narrative exploration of love, friendship, and commitment but also uncertainty and terror under circumstances that were unique in the annals of “The Good War.” The novel’s protagonists—Benjamin, David and Rachel—adopt varying survival strategies as they struggle with involvement in a brutal conflict and questions posed by their dual loyalty as Finnish citizens and Zionists committed to the creation of a Jewish homeland. Tensions mount as the three young adults painfully work through a relationship love triangle and try to fulfill their commitments as both Jews and Finns while their country desperately seeks to extricate itself from an unwinnable war.
WHAT WOULD YOU DO TO SAVE YOUR LOVED ONE? AND DO YOU KNOW WHO SHE REALLY IS? 'Great plots, great characters, great action' LEE CHILD 'Simon Kernick writes with his foot pressed hard on the pedal' HARLAN COBEN They took your fiancée. They framed you for murder. You're given one chance to save her. To clear your name. You must kill someone for them. They give you the time and place. The weapon. The target. You have less than 24 hours. You only know that no-one can be trusted...and nothing is what it seems. 'A fast, furious and unpredictable read' The Sun Book of the Week 'That thud you hear is Kernick whipping the rug from under your feet again.' The Times Best thrillers of the month 'An absolute master of the adrenaline-fuelled ride' PETER JAMES 'One of Britain's top thriller writers' The Sun
King Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king—Edgar—has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings—and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as “Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses—undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
In medieval Japan, an evil warlord is about to execute his secret plan to plunge the nation into violent chaos. Enter young Moonshadow, the newest agent for the Grey Light Order, an elite brotherhood of "shinobi" (ninja spy warriors).
An Ideological Analysis of Breastfeeding in Contemporary America: Disciplining the Maternal Body analyzes the discourses involved in the pro-breastfeeding, “breast is best” paradigm, highlighting how such politically charged rhetoric restrains women’s ability to make the choices that are best for them and their families. Loreen Olson and Jenni M. Simon combat the idea that is so often espoused by medical professionals, researchers, and society at large: to be a good parent, one must provide breast milk to the infant in order for the baby to grow into a healthy, productive citizen. By exposing the biases present, Olson and Simon advocate for the need to make discursive space for all parents and all feeding choices. Scholars of communication, rhetoric, gender and women’s studies, and feminism will find this book particularly useful.
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