Cradle And All

Two teenage girls claim that they are pregnant virgins. But only one is carrying the child of Christ . . . and the other will deliver the son of Satan. In Boston, seventeen-year-old Kathleen is pregnant, but she swears she's a virgin. In Ireland, another teenage girl, Colleen, discovers she is in the same impossible condition. Cities all around the world are suddenly overwhelmed by epidemics, droughts, famines, floods, and worse. As terrifying forces of light and darkness begin to gather, Kathleen and Colleen find themselves at the center of the final battle for the very soul of humanity. Each of the girls must convince a young detective that she is the true mother of God . . . and that the other is carrying the devil. The stakes couldn't be higher in this page-turning thriller. You won't be able to put it down until the final reveal: which baby is the miracle . . . and which the monster?

John Doe and his infant daughter, Jane, appeared on the steps of the Manor the night the earthquakes started and the gateway to the Otherworlds closed. The people on the remote island of Bluehaven have despised them ever since, blaming Jane and her father for their exile. Fourteen years after that night, the largest earthquake yet strikes. The Manor awakens, dragging John into its labyrinth. Accompanied by a pyromaniac named Violet and a trickster named Hickory, Jane must rescue her father and defeat an immortal villain who is trying to harness the mythical power of the Manor.

THE STORY: Relationships aren't baby-proof. Annie and Nate have a baby who won't sleep. Claire and Luke are losing sleep over the decision to start a family. In adjacent Brooklyn Heights apartments, Daniel Goldfarb's fresh and witty look at love, s

When Tom Christen, the new preacher in Cooper's Corner, found a baby on his doorstep, he wasn't about to give the infant to some bureaucrat. And Judge Anne Vandree might have had hair like a halo?but she was definitely a bureaucrat, informing him that by law he must surrender the baby. So Tom told her the truth. He was the baby's father! Anne sensed there was more to the story?especially when Tom refused to reveal the mother's identity. But Tom's protectiveness and honesty attracted Anne. She'd had her share of deceitful heartbreakers, and Anne placed a high value on a man's truthfulness. At least Tom was a man who hadn't lied to her. Or had he?

Written by Virginia Grohl, the mother of Dave Grohl—former Nirvana drummer and current frontman for the Foo Fighters—From Cradle to Stage shares stories and exclusive photos featuring mothers of rock icons, the icons themselves, and their Behind the Music-style relationships While the Grohl family had always been musical-the family sang together on long car trips, harmonizing to Motown and David Bowie-Virginia never expected her son to become a musician, let alone a rock star. But when she saw him perform in front of thousands of screaming fans for the first time, she knew that rock stardom was meant to be for her son. And as Virginia watched her son's star rise, she often wondered about the other mothers who raised sons and daughters who became rock stars. Were they as surprised as she was about their children's fame? Did they worry about their children's livelihood and wellbeing in an industry fraught with drugs and other dangers? Did they encourage their children's passions despite the odds against success, or attempt to dissuade them from their grandiose dreams? Do they remind their kids to pack a warm coat when they go on tour? Virginia decided to seek out other rock star mothers to ask these questions, and so began a two-year odyssey in which she interviewed such women as Verna Griffin, Dr. Dre's mother; Marianne Stipe, Michael Stipe of REM's mother; Janis Winehouse, Amy Winehouse's mother; Patsy Noah, Adam Levine's mother; Donna Haim, mother of the Haim sisters; Hester Diamond, Mike D of The Beastie Boys' mother. With exclusive family photographs and a foreword by Dave Grohl, From Cradle to Stage will appeal to mothers and rock fans everywhere.

From earliest childhood the nursery rhyme, one of the most captivating genres in our popular culture, has transmitted powerful messages to the child who hears it. These meanings may not be the ones adults perceive or intend, for such didactic precepts as the beneficial need of self-control, social order, and academic responsibility also can be weighted with the sadistic, angry connotations that lie deep in the human spirit. In Cradle and All nursery rhymes are shown to be both the instruments that tell children of the mortal hunger for the forces in the natural world that oppose them. Thus in bearing a double load of meanings, nursery rhymes remove the blinders and push children toward the life of contrasts that abound in their culture. This fascinating examination of the pervasive influence of nursery rhymes reveals patterns of psychological and cultural meaning in a broad range of rhymes, grouping them according to basic subject matter: animal rhymes, courtship and marriage rhymes, lullabies and amusements, and didactic rhymes. Combining the tools of psychoanalysis, literary criticism, folklore studies, cultural history, and cultural anthropology, Cradle and All explores meanings and motives that lie deep in many rhymes that are the fundamental literature of the nursery. This illuminating study also assesses attempts to sanitize rhymes by removing elements that some deem as needlessly violent, antisocial, and sexist. Cradle and Allis unique in its analytical treatment of a large number of rhymes grouped in broad subject areas. In its diverse and comprehensive approach it will appeal to all who enjoy the lore of childhood literature.

A manifesto for a radically different philosophy and practice of manufacture and environmentalism "Reduce, reuse, recycle" urge environmentalists; in other words, do more with less in order to minimize damage. But as this provocative, visionary book argues, this approach perpetuates a one-way, "cradle to grave" manufacturing model that dates to the Industrial Revolution and casts off as much as 90 percent of the materials it uses as waste, much of it toxic. Why not challenge the notion that human industry must inevitably damage the natural world? In fact, why not take nature itself as our model? A tree produces thousands of blossoms in order to create another tree, yet we do not consider its abundance wasteful but safe, beautiful, and highly effective; hence, "waste equals food" is the first principle the book sets forth. Products might be designed so that, after their useful life, they provide nourishment for something new-either as "biological nutrients" that safely re-enter the environment or as "technical nutrients" that circulate within closed-loop industrial cycles, without being "downcycled" into low-grade uses (as most "recyclables" now are). Elaborating their principles from experience (re)designing everything from carpeting to corporate campuses, William McDonough and Michael Braungart make an exciting and viable case for change.

“A free-wheeling vehicle . . . an unforgettable ride!”—The New York Times Cat’s Cradle is Kurt Vonnegut’s satirical commentary on modern man and his madness. An apocalyptic tale of this planet’s ultimate fate, it features a midget as the protagonist, a complete, original theology created by a calypso singer, and a vision of the future that is at once blackly fatalistic and hilariously funny. A book that left an indelible mark on an entire generation of readers, Cat’s Cradle is one of the twentieth century’s most important works—and Vonnegut at his very best. “[Vonnegut is] an unimitative and inimitable social satirist.”—Harper’s Magazine “Our finest black-humorist . . . We laugh in self-defense.”—Atlantic Monthly

Ten Babies. Eight Murders. One Woman to Blame: Their Mother In March of 1949, a healthy baby boy named Richard Noe entered this world. Thirty-one days later, he left it -- found dead in his parents' bedroom in a working-class Philadelphia neighborhood. Over the next nineteen years, all nine of Marie and Arthur Noe's other children would die -- one stillborn, one in the hospital, and the other seven of unexplained causes--none lived longer than fifteen months. Gaining national sympathy for their unbelievabloe bad luck, the Noes were deemed victims of SIDS (Sudden Infant Death Syndrome). But as the years went on, may people found their SIDS defence a hard pill to swallow -- after all, SIDS is not a hereditary condition. As investigators proved, they found that in each case, the child had died while home alone with Marie Noe. Finally, in 1999 -- fifty years after her first child died -- septuagenarian Maried Noe pled guilty to killing eight of her ten dead children. Today, she remains at home on probation helping psychiatric experts understand what is perhaps one of the most disturbing and baffling mysteries of all: how and why a mother could kill her own children. In this riveting true crime account, author John Glatt goes behind the headlines and into the heart of this fascinating case to reveal the shocking answers.

Millions of years ago, humans just happened. Accidents of environment and genetics contributed to the emergence of sentient beings like us. Today, however, people no longer "just happen"; they are created by the voluntary acts of other people. This book examines several questions about the ethics of human existence. Is it a good thing, for humans, that humans "happened"? Is it ethical to keep making new humans, now that reproduction is under our control? And given that a person exists (through no fault or choice of his own), is it immoral or irrational for him to refuse to live out his natural lifespan? Sarah Perry answers these questions in the negative--not out of misanthropy, but out of empathy for human suffering and respect for human autonomy. "Every Cradle Is a Grave undertakes a difficult task-to write on discomforting matters from a perspective that is socially unsanctioned. Strange as it may seem to some of us, there are scads of volumes that praise the abuses we endure in our lives. Such works have always been well thumbed, though they are only prayer-books for the purpose of worshiping misery. Sarah Perry is more honest and less perverse on the subject of suffering, treating pain as both a philosophical and a practical problem to which, it is admitted, there is no ultimate solution. Nonetheless, in her view there still remains intelligence and compassion as a means for confronting the insoluble. That is what makes this book as much a necessity as it is a rarity." --Thomas Ligotti, author of The Conspiracy against the Human Race Meaning. Value. Birth. Death. Sanctity. These subjects and others are reexamined through the lens of suicide rights and procreation ethics in Sarah Perry's Every Cradle Is a Grave. If you're at all fond of asking the truly Big Questions, this is the read you've been waiting for. Why are we here, and why do we stay? Prepare to have your assumptions dissected and turned on their heads. It's a bumpy ride, but then, so is this little journey we're on as we spin aimlessly around a sun that's destined to burn out, just as surely as each individual life will one day fall back down into the mud from which all life arises. Asking the hard questions is one thing, but hearing answers that might shake us to the core can be something else again. --Jim Crawford, author of Confessions of an Antinatalist "In this eminently rational, clear and serious book, Sarah Perry is courageous and strong enough to confront the forbidden truths of human life. Every Cradle Is a Grave should be mandatory reading for anyone who plans to have children." -Mikita Brottman, author of Thirteen Girls