Leave it to the heroes to save the world--villains just want to rule the world. In this unique YA anthology, thirteen acclaimed, bestselling authors team up with thirteen influential BookTubers to reimagine fairy tales from the oft-misunderstood villains' points of view. These fractured, unconventional spins on classics like "Medusa," Sherlock Holmes, and "Jack and the Beanstalk" provide a behind-the-curtain look at villains' acts of vengeance, defiance, and rage--and the pain, heartbreak, and sorrow that spurned them on. No fairy tale will ever seem quite the same again! Featuring writing from . . . Authors: Renée Ahdieh, Ameriie, Soman Chainani, Susan Dennard, Sarah Enni, Marissa Meyer, Cindy Pon, Victoria Schwab, Samantha Shannon, Adam Silvera, Andrew Smith, April Genevieve Tucholke, and Nicola Yoon BookTubers: Benjamin Alderson (Benjaminoftomes), Sasha Alsberg (abookutopia), Whitney Atkinson (WhittyNovels), Tina Burke (ChristinaReadsYA blog and TheLushables), Catriona Feeney (LittleBookOwl), Jesse George (JessetheReader), Zoë Herdt (readbyzoe), Samantha Lane (Thoughts on Tomes), Sophia Lee (thebookbasement), Raeleen Lemay (padfootandprongs07), Regan Perusse (PeruseProject), Christine Riccio (polandbananasBOOKS), and Steph Sinclair & Kat Kennedy (Cuddlebuggery blog and channel).
A Theory of Feelings examines the problem of human feelings, widely understood, from phenomenological, analytic, and historical perspectives. It begins with an analysis of drives and affects, and pursues the nature of "feeling" itself, in all of its variability, through a close study of the distinctive categories of emotions, emotional dispositions, orientive feelings, and the passions. As such, the starting point of the anlysis entails an examination of the characteristics of human involvement, or our ways of being in the world. Building upon this assessment of the conditions of human involvement, the philosophical history and emotional economy characteristic of modern relationships is treated, and the nature of expression, social division, suffering, and responsibility is evaluated in light of the theory of feeling presented here. The book is recommended to anyone interested in philosophy, psychology, sociology, and cognitive science.
Lawrence wrote nearly 1,000 poems during a short lifetime in which he was also astonishingly prolific in other spheres--fiction, travel writing, essays, criticism, letters and plays. Lawrence was not simply a novelist who dabbled in other forms. His characteristic vision informed everything he wrote, especially his poetry. At three important phases of his life it became the primary channel of his experience and creative energy--the first year of his relationship with Frieda, the two years in Sicily, and the last year of his life. Bringing together the best of his poetry, this volume demonstrates that 'Lawrence is a great poet in every sense including the technical ... The form is the perfect incarnation of the content, the perfect vehicle for the liveliness of thought and feeling, the freshness, and depth of perception, the wit and wisdom he has to offer.'
There is something profligate in the range and quality of Morgan's work as a translator. He does the labour of ten writers, and with blithe sprezzatura, partly at least because his own work nourishes itself from the poetry of other lands and ages. It is part of the necessary mechanism that Morgan, as a Scot, employs to define his place as a European, to escape the tonal and cultural limitations which England can imply. Collected Translations includes six decades of work. Readers will find here Morgan's celebrated Mayakovsky done into Scots, his Voznesensky, Pasternak and Vinokurov. There are the Italians and the French—Leopardi, Quasimodo, Montale, Guillevic, Provert and Michaux; and there is Heine, and Lorca, Cernuda and Brecht and Enzensberger and Braga. And much, much more.