Welcome to Stonewood. A large and wealthy city where thieves, thugs, and assassins lurk behind every shadow. The powerful Thieves Guild controls the underworld and only members are permitted to commit crimes within their city. This is the tale of Harcourt, a down-on-his-luck thief who desperately needs to gain a membership into the Guild. Jalanna, the love of his life has been scarred in a terrible fire and a priest claims he can heal her scars, but for a hefty price in gold. A near-impossible amount to acquire for a homeless thief without a Guild membership. Luck is not on the rogue's side as his goal slips further and further out of reach. Forces conspire against him. Then a chance encounter on a fateful night, could change Harcourt's life forever.

Stolen sports cars, brilliant casino heists, and the brazen kidnapping of a prince: only shadowy spy for hire Simon Riske can stop the mastermind behind it all. Monte Carlo's lavish casinos have become the target of a sophisticated and brutal team of professional gamblers; a casino dealer has been beaten to death; a German heiress's son has been kidnapped. Who better to connect the crimes and foil a daringly brilliant plot than Simon Riske, freelance industrial spy? Riske -- part Bond, part Reacher -- knows Monte Carlo well: it's where he was once a thrill-seeking thief himself, robbing armored trucks and leading police on dangerous car chases across the Côte d'Azur, until he was double-crossed, served his time, and graduated as an investment genius from the Sorbonne. Now Riske is a man who solves problems, the bigger and "riskier" the better. From the baccarat tables of Europe's finest casinos to the superyachts moored in Monaco's Port Hercule to a secluded chalet deep in the Swiss Alps, Riske will do what he does best: get in over his head, throw himself into danger, and find a way to outthink and outmaneuver villains of every stripe. In one of the most clever, enjoyable, and entertaining series to come along in years, this sequel to The Take gives readers what they want most: a hero we can root for, locales we wish we were in, and a plot that never lets up.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY PUBLISHERS WEEKLY Compared by critics to Kafka, Joyce, and Musil, H. G. Adler is becoming recognized as one of the towering figures of twentieth-century fiction. Nobel Prize winner Elias Canetti wrote that “Adler has restored hope to modern literature,” and the first two novels rediscovered after his death, Panorama and The Journey, were acclaimed as “modernist masterpieces” by The New Yorker. Now his magnum opus, The Wall, the final installment of Adler’s Shoah trilogy and his crowning achievement as a novelist, is available for the first time in English. Drawing upon Adler’s own experiences in the Holocaust and his postwar life, The Wall, like the other works in the trilogy, nonetheless avoids detailed historical specifics. The novel tells the story of Arthur Landau, survivor of a wartime atrocity, a man struggling with his nightmares and his memories of the past as he strives to forge a new life for himself. Haunted by the death of his wife, Franziska, he returns to the city of his youth and receives confirmation of his parents’ fates, then crosses the border and leaves his homeland for good. Embarking on a life of exile, he continues searching for his place within the world. He attempts to publish his study of the victims of the war, yet he is treated with curiosity, competitiveness, and contempt by fellow intellectuals who escaped the conflict unscathed. Afflicted with survivor’s guilt, Arthur tries to leave behind the horrors of the past and find a foothold in the present. Ultimately, it is the love of his second wife, Johanna, and his two children that allows him to reaffirm his humanity while remembering all he’s left behind. The Wall is a magnificent epic of survival and redemption, powerfully told through stream of consciousness and suffused with daydream, fantasy, memory, nightmare, and pure imagination. More than a portrait of a Holocaust survivor’s journey, it is a universal novel about recovering from the traumas of the past and finding a way to live again. Praise for The Wall “[A] majestic novel . . . Adler’s prose is tidal, surge after narrative surge rushing forward and then enigmatically receding, the moment displaced by memory, and memory by introspective soliloquy.”—Cynthia Ozick, The New York Times Book Review “A towering meditation on the self and spirit . . . The writing is sonorous and so entirely devastating that the reader is compelled to pore over every word.”—Publishers Weekly (starred review) “Masterful and utterly unique.”—The Jerusalem Post “Haunting and utterly heart-wrenching . . . a literary masterpiece.”—Historical Novels Review “An epic novel . . . an unforgettable portrait.”—The Jewish Week “[A] pensive portrait of a man struggling to find a place in the world after enduring transformative calamity . . . an eloquent record of suffering—and perhaps of redemption as well.”—Kirkus Reviews Praise for H. G. Adler’s novels The Journey and Panorama, translated by Peter Filkins “Modernist masterpieces worthy of comparison to those of Kafka or Musil.”—The New Yorker “Haunting . . . as remarkable for its literary experimentation as for its historical testimony.”—San Francisco Chronicle, on Panorama

Within a theoretical framework that makes use of history, psychoanalysis and anthropology, The Early Modern Corpse and Shakespeare's Theatre explores the relationship of the public theatre to the question of what constituted the 'dead' in early modern English culture.Susan Zimmerman argues that concepts of the corpse as a semi-animate, generative and indeterminate entity were deeply rooted in medieval religious culture. Such concepts ran counter to early modern discourses that sought to harden categorical distinctions between body/spirit, animate/inanimate - in particular, the attacks of Reformists on the materiality of 'dead' idols, and the rationale of the new anatomy for publicly dissecting 'dead' bodies. Zimmerman contends that within this context, theatrical representations of the corpse or corpse/revenant - as seen here in the tragedies of Shakespeare and his contemporaries - uniquely showcased the theatre's own ideological and performative agency. Features*Original in its conjunction of critical theory (Bataille, Kristeva, Lacan, Benjamin) with an historical account of the shifting status of the corpse in late medieval and early modern England.*The first study to demonstrate connections between the meanings attached to the material body in early modern Protestantism, the practice of anatomical dissection, and the English public theatre.*Strong market appeal to scholars and graduate students with interests in the theatre of Shakespeare and his contemporaries, early modern religion and science, and literary theory. *Relevant to advanced undergraduates taking widely taught courses in Shakespeare and in Renaissance drama.

Zi Zhi Tong Jian (Chinese: 资治通鉴;English: "Comprehensive Mirror in Aid of Governance") is a pioneering reference work in Chinese historiography, published in 1084 in the form of a chronicle. In 1065 AD, Emperor Yingzong of Songordered the great historian Sima Guang (1019–1086 AD) to lead with other scholars such as his chief assistants Liu Shu, Liu Ban and Fan Zuyu,[1] the compilation of a universal history of China. The task took 19 years to be completed,and, in 1084 AD, it was presented to his successor Emperor Shenzong of Song. The Zizhi Tongjian records Chinese history from 403 BC to 959 AD, covering 16 dynasties and spanning across almost 1,400 years,and contains 294 volumes (巻) and about 3 million Chinese characters. The principal text of the Zizhi Tongjian was recorded on 294 Juan, or Volume (Chinese: 卷), which are scrolls corresponding to a volume, chapter, or section of the work. The text is a chronological narrative of the history of China from the Warring States to the Five Dynasties. Sima Guang left the traditional usage in Chinese historiography. For almost 1,000 years since the Shiji was written, standard Chinese dynastic histories had primarily divided chapters between annals (紀) of rulers, and biographies (傳) of officials. In Chinese terms, the book changed the format of histories from biographical style (紀傳體) to chronological style (編年體), which is better suited for analysis, activism and criticism. According to Wilkinson: "It had an enormous influence on later Chinese historical writing, either directly or through its many abbreviations, continuations, and adaptations. The 294 Juan sweep through 11 Chinese historical periods (Warring States, Qin, Western Han, Eastern Han, Three Kingdoms, Jin and the Sixteen Kingdoms, Southern and Northern Dynasties, Sui, Tang, and Five Dynasties). It was one of the largest historical magna opera in history. The book consisted of 294 chapters, of which the following number describe each respective dynastic era: 1.5 chapters - Zhou (1046-256 BC) 2.3 chapters - Qin (221-207 BC) 3.60 chapters - Han (206 BC-220 AD) 4.10 chapters - Wei (220-265) 5.40 chapters - Jin (265-420) 6.16 chapters - Liu Song (420-479) 7.10 chapters - Qi (479-502) 8.22 chapters - Liang (502-557) 9.10 chapters - Chen (557-589) 10.8 chapters - Sui (589-618 AD) 11.81 chapters - Tang (618-907) 12.6 chapters - Later Liang (907-923) 13.8 chapters - Later Tang (923-936) 14.6 chapters - Later Jin (936-947) 15.4 chapters - Later Han (947-951) 16.5 chapters - Later Zhou (951-960) The book includes volume 9 to 68 covering Han Dynasty among a series of books of Zi Zhi Tong Jian.

Winner of the 2007 Gradiva Award and the 2006 Goethe Award for Psychoanalytic Scholarship The definitive biography of one of the most engaging figures of British psychoanalysis.Both gifted analyst and generational bete noire, M. Masud R. Khan (1924–1989) exposed through his candor and scandalous behavior the bigotry of his proponents turned detractors. The son of a wealthy landowner in rural India (now Pakistan), Khan grew up in a world of privilege that was radically different from the Western lifestyle he would adopt after moving to London. Notorious for his flamboyant personality and, at first, widely acknowledged as a brilliant clinician, Khan was closely connected to some of the most creative and accomplished individuals of his time, including Donald Woods Winnicott, Anna Freud, Robert Stoller, Michael Redgrave, Julie Andrews, Rudolph Nureyev, and many more. Khan’s subsequent downfall, which is powerfully narrated in this biography, offers interesting insights not only into Khan’s psychic fragility but into the world of intrigues and deceptions pervasive in the psychoanalytic community of the time. In telling the story of this provocative man, Linda Hopkins makes use of unprecedented access to a complete copy of Khan’s unpublished Work Books, which are quoted extensively. Additionally, she conducted innumerable interviews with Khan’s peers, relatives, and analysands in order to provide an in-depth and balanced account of Masud Khan as a talented and deeply conflicted individual.

In May 1517, Luigi of Aragon, one of the most wealthy, cultivated and well-connected of Italian cardinals, left Italy for a leisurely tour through Germany, Switzerland, the Low Countries and France, which lasted until January 1518. Too grand to keep a record of his own movements, he was well-served by his chaplain and amanuensis, Antonio de Beatis, who day by day kept a steadily enthusiastic record of the scenes they passed amongst. The range of de Beatis's interests was quite remarkably wide. His descriptions of individuals, landscapes, towns, of whole regions and the characters and customs of their inhabitants, of churches, palaces, relics and works of art provide one of the clearest impressions we have of the physical quality of life in north-western Europe in the Renaissance. This range owes something to the company he kept. Without the Cardinal he would not have had the organs played in the churches they visited, would not have watched Raphael's tapestries being woven in Brussels or met Leonardo da Vinci at Amboise. But it owes still more to the traditions which by 1517 suggested not only what a curious traveller should look at but the way in which he might organise his impressions, and express them in writing. For this reason most of the editor's Introduction is devoted to providing a pioneering account of the evolution of the Renaissance travel journal. Though the Italian text published in the German edition of Ludwig Pastor in 1905 has been frequently quoted by political, social and art historians, the Journal has not previously been translated into English.

Return to the "vivid and unusual" (Kirkus Reviews) world of Larry Niven and Jerry Pournelle's The Burning City, where the fire god has retreated into myth, leaving the residents of Tep's Town unprotected for the first time in their history. Unfortunately, a fiery fate isn't the only danger the town is facing. From out of the desert come monsters -- great birds with blades instead of wings, driven by some unknown force. Although they can be killed, the threat these terror birds pose is worse than death. Danger on the roads means no trade. No trade means that Tep's Town will be no more. Sent by the Lords of Lordshills to discover the source of the terror birds, Lord Sandry and his beloved, Burning Tower, must travel into a world where magic is still strong -- and where someone or something waits to destroy them! Filled with the sweeping adventure, memorable characters, and imaginative world-building that have defined the novels of Larry Niven and Jerry Pournelle, Burning Tower is another triumph.