Unauthorised Biography Of Ezra Maas

Berlin: long-celebrated as a city of artists and outcasts, but also a city of teachers and construction workers. A place of tourists and refugees, and the memories of those exiled and expelled. A city named after marshland; if you dig a hole, you'll soon hit sand. The stories of Berlin are the stories Built on Sand. A wooden town, laid waste by the Thirty Years War that became the metropolis by the Spree that spread out and swallowed villages whole. The city of Rosa Luxemburg and Joseph Roth, of student movements and punks on both sides of the Wall. A place still bearing the scars of National Socialism and the divided city that emerged from the wreckage of war. Built on Sand. centres on the personal geographies of place, and how memory and history live on in the individual and collective imagination. Stories of landscapes and a city both real and imagined; stories of exile and trauma, mythology and folklore; of how the past shapes and distorts our understanding of the present in an age of individualism, gentrification and the rising threat of nativism and far-right populism. Together, these stories offer a portrait of a city three decades on from the fall of the Berlin Wall, and the legacy of that history in a city that was once divided but remains fractured and fragmented.

Named a Best Book of the Year: Vogue * TIME * Real Simple * Kirkus Reviews A New York Times Book Review Editors' Choice For fans of Sally Rooney's Normal People: A sharply intelligent and intimate debut novel about a secret society of hungry young women who meet after dark and feast to reclaim their appetites--and their physical spaces--that posits the question: If you feed a starving woman, what will she grow into? Roberta spends her life trying not to take up space. At almost thirty, she is adrift and alienated from life. Stuck in a mindless job and reluctant to pursue her passion for food, she suppresses her appetite and recedes to the corners of rooms. But when she meets Stevie, a spirited and effervescent artist, their intense friendship sparks a change in Roberta, a shift in her desire for more. Together, they invent the Supper Club, a transgressive and joyous collective of women who gather to celebrate, rather than admonish, their hungers. They gather after dark and feast until they are sick; they break into private buildings and leave carnage in their wake; they embrace their changing bodies; they stop apologizing. For these women, each extraordinary yet unfulfilled, the club is a way to explore, discover, and push the boundaries of the space they take up in the world. Yet as the club expands, growing in both size and rebellion, Roberta is forced to reconcile herself to the desire and vulnerabilities of the body--and the past she has worked so hard to repress. Devastatingly perceptive and savagely funny, Supper Club is an essential coming-of-age story for our times.

Phyllis Ewans, a prominent researcher in Lepidoptera and a keen walker, has died of old age. Thomas, a much younger fellow researcher of moths first met Phyllis when he was a child. He became her carer and companion, having rekindled her acquaintance in later life. Increasingly possessed by thoughts that he somehow actually is Phyllis Ewans, and unable to rid himself of the feeling that she is haunting him, Thomas must discover her secrets through her many possessions and photographs, before he is lost permanently in a labyrinth of memories long past. Steeped in dusty melancholy and analogue shadows, Mothlight is an uncanny story of grief, memory and the price of obsession.

Karen Havelin's Please Read This Leaflet Carefully is a life told in reverse and a subversion of what we expect from stories of illness. Having been diagnosed with endometriosis in her twenties, we follow Laura Fjellstad in her struggle to live a normal life across New York, Paris and Oslo, fuelled by her belief that to survive her chronic illness ......

Dimos Horacki is a Borolian journalist and a cynical patriot, his muckraking days behind him. But when his newspaper ships him to the front, he’s embedded in the Imperial Army and the reality of colonial expansion is laid bare before him. His adventures take him from villages and homesteads to the great refugee city of Hronople, built of glass, steel, and stone, all while a war rages around him. The empire fights for coal and iron, but the anarchists of Hron fight for their way of life. A Country of Ghosts is a novel of utopia besieged and a tale that challenges every premise of contemporary society.

“If there were a Guinness Book of World Records entry for ‘amount of times having prayed the sinner’s prayer,’ I’m pretty sure I’d be a top contender,” says pastor and author J. D. Greear. He struggled for many years to gain an assurance of salvation and eventually learned he was not alone. “Lack of assurance” is epidemic among evangelical Christians. In Stop Asking Jesus Into Your Heart, J. D. shows that faulty ways of present- ing the gospel are a leading source of the confusion. Our presentations may not be heretical, but they are sometimes misleading. The idea of “asking Jesus into your heart” or “giving your life to Jesus” often gives false assurance to those who are not saved—and keeps those who genuinely are saved from fully embracing that reality. Greear unpacks the doctrine of assurance, showing that salvation is a posture we take to the promise of God in Christ, a posture that begins at a certain point and is maintained for the rest of our lives. He also answers the tough questions about assurance: What exactly is faith? What is repentance? Why are there so many warnings that seem to imply we can lose our salvation? Such issues are handled with respect to the theological rigors they require, but Greear never loses his pastoral sensitivity or a communication technique that makes this message teachable to a wide audience from teens to adults.

Ironopolis is a warren of streets, memories and people with secrets... Glen James Brown orchestrates a remarkable novel across these streets as Ironopolis tells its own story across three generations. Jean unveils a secret on her deathbed... Alan unravels the truth of his father, a man who has haunted the Burn Council Estate for a lifetime... Corina is just trying to get through one last day at the hairdressers before she closes it for good. And then there is the ageless Peg Powler, myth and reality, stalking them all...

Have you ever wondered how a work of art could be worth millions? Has the world gone mad when Damien Hirst sells a dead shark for $12 million or a Picasso painting goes for £20 million? Some people think that art has nothing to do with money, that true art does not have a price tag, but it is really difficult to believe this in a world where the contemporary art market is worth $62 billion a year. The problem, says philosopher Daniel Barnes, is that nowadays it is more difficult than ever to tell the difference between good art and expensive art. In The Value Industry, Barnes explores the relationship between art and money. He argues that art is valuable as both culture and economics, but these are radically different things and the art market constantly attempts to blur the boundaries. Through a heady mixture of art market news, art criticism and philosophy, Barnes demonstrates that, despite all the money and headlines, art will always survive the ravages of capitalism because it is worth so much more than money. High auction prices, billionaire collectors, celebrity endorsements and artists' publicity stunts only serve to create the myth that the value of art is monetary, but the true value lies in the way that art enriches human existence.