In "One Basket" by Edna Ferber, readers are treated to a collection of short stories that provide a delightful glimpse into the lives of various characters. Through Ferber's skillful storytelling, these tales explore the intricacies of human relationships, dreams, and the intricacies of daily existence. The book's narrative diversity spans from the bustling streets of New York City to the quiet rural settings, making each story a unique experience. Themes of love, ambition, and personal growth are woven throughout, painting a vivid picture of American life in the early 20th century. Edna Ferber's masterful prose captures the essence of the human spirit, offering a rich and emotional reading experience for all.

Focus in the media on the risks posed to ordinary people has become increasingly strong in recent years - particularly on those risks popularly perceived to be posed by the mentally ill. But how justified is this concern? How do we best manage so-called dangerous people? In Will They Do It Again? Herschel Prins considers the issue of public protection within a broad context of risk in society generally, examining the concerns arising in contemporary society from dealing with uncertainty. It is argued that public fear over the danger posed by the mentally ill is at odds with the evidence, and that much of the concern is focused on a small number of high-profile cases. Prins goes on to examine such cases where management of the mentally ill has failed and sets out suggestions for improvements in practice. Will They Do It Again? cuts through popular misunderstanding and media hype over risk to give a clear, unbiased picture of the real risks to society from the mentally ill and how best they can be contained and managed, and will prove invaluable to a range of practitioners involved in the fields of criminal justice and psychiatry.

"Banning people from libraries is even worse than banning books! Decades before the Civil Rights Movement, Samuel Wilbert Tucker, a Black lawyer in Virginia, organized a peaceful read-in at the local public library, which was segregated. He wanted to affirm the right of everyone to use the library. Thanks to efforts like his, we can all sit at a table, any table, pick up a book, any book, and read."--Back cover.

"Across the barnyard, Pip the chick spots a new friend to play with--Pup! What will these pals get up to?"--Page [2] of cover.

"A celebration of the power and wonder of lifelong reading-both secular and sacred Zibby Owens, My Most Anticipated Books 2025 In Children of the Book, Ilana Kurshan explores the closeness forged when family life unfolds against a backdrop of reading together. Kurshan, a mother of five living in Jerusalem, at first struggles to balance her passion for literature with her responsibilities as a parent. Gradually she learns how to relate to reading not as a solitary pursuit and an escape from the messiness of life, but rather as a way of teaching independence and forging connection. Introducing her children to sacred and secular literature-including the beloved classics of her childhood-helps her become both a better mother and a better reader. Chief among the books Kurshan reads with her children is the Five Books of Moses, known as the Torah, which Jews the world over read in synchrony as part of the liturgical cycle. In the five parts of this memoir, Kurshan explores the surprising resonances between the biblical text and her experiences as a mother and a reader - from the first picture books that create the world through language for little babies, to the moment our children begin reading on their own leaving us behind, atop the mountain, as they enter new lands without us. A testament to the enduring power of shared texts, Children of the Book celebrates the deep pleasures of books"-- Provided by publisher.

Internationally renowned author Jane Yolen has composed a sequence of tough, angry, and moving love poems that express grief and gratitude for her late husband David, as witness to his treatment for and passing from cancer, and the ongoing loss that is felt years after his death. In one poem, Yolen--a prize-winning poet, speaks of his "shallow bird breath/beating beneath the cage of his chest bones." In another: "Do not help me to forget./Help me to remember." And in a third: You have gone before me into winter, Into spring, into summer, somehow A consummate time traveler I can never catch up to, Always a season ahead. Jane Yolen , often called "the Hans Christian Andersen of America," is the author of over three hundred books, including Owl Moon , The Devil's Arithmetic , and How Do Dinosaurs Say Goodnight . The books range from rhymed picture books and baby board books through middle grade fiction, poetry collections, nonfiction, novels, and story collections for young adults and adults, and two books of adult poetry. Her books and stories have won two Nebula Awards, a World Fantasy Award, a Caldecott Medal, the Golden Kite Award, three Mythopoeic awards, two Christopher Medals, a nomination for the National Book Award, and the Jewish Book Award. She is also the winner (for body of work) of the Kerlan Award, the World Fantasy Association Lifetime Achievement Award, and the Catholic Library's Regina Medal.

Autobiography of an Ex-White Man is an intensely personal meditation on the nature of America by a White Philosopher who joined a Black Studies Department and found his understanding of the world transformed by the experience. The book begins with an autobiographical narrative of the events leading up to Wolff's transfer from a Philosophy Department to the W. E. B. Du Bois Department of Afro-American Studies at the University of Massachusetts, and his experiences in the Department with his new colleagues, all of whom had come to Academia from the Civil Rights Movement of the 1960s. Wolff discovered that the apparently simple act of moving across campus to a new Department in a new building worked a startling change in the way he saw himself, his university, and his country. Reading as widely as possible to bring himself up to speed in his new field of academic responsibility, Wolff realized after a bit that his picture of American history and culture was undergoing an irreversible metamorphosis. America, he realized, has from its inception been a land both of Freedom and of Bondage: Freedom for the few, and then for those who are White; Bondage at first for the many, and then for those who are not White. Slavery is thus not an aberration, an accident, a Peculiar Institution -- it is the essence and core of the American experience. Wolff's optimistic outlook leads him to express the hope that our acknowledging the realities of America's racial history and present will begin to tear down the formidable barrier to change. He sees this refashioning of the American story as a first step toward the crafting of a truly liberatory project. Robert Paul Wolff is Professor of Afro-American Studies at the University of Massachusetts-Amherst and the author of numerous books, including Introductory Philosophy and In Defense of Anarchism.

For most people literary criticism is a mystery that often seems inaccessible, written for an in-group. Even worse, a Battle of the Books has broken out between neoconservatives and neoradicals-all the more reason to steer clear of the fray. Geoffrey Hartman argues that ignoring the culture wars would be unwise, for what is at stake is the nature of the arts we prize and our obligation to remain civil and avoid the apocalyptic tone of most political prophecy. Hartman's book is both a survey of the history of modern literary criticism and a strategic intervention. First he presents an account of the culture of criticism in the last one hundred years. He then widens the focus to provide a picture of the critical essay from 1700 to the present in order to show that a major change in style took place after 1950. Two chapters focus on F. R. Leavis and Paul de Man, central-and controversial-figures in academic criticism. Hartman attends to major developments on the continent and in Anglo-American circles that have disrupted the calm of what he calls the friendship or conversational style. On the one hand, critics and thinkers have pursued strange gods in order to enrich and sharpen their critical style. This change Hartman welcomes. On the other hand, along with a renewed interest in politics and historical speculation, a didactic and moralistic tone has again entered the scene. Hartman rejects this new moralism. The author is an eloquent defender of reading the text of criticism as carefully as the text of literature. He argues for a broader conception of critical style, one that would support the open and conversational voice of the public critic as well as the inventive and innovative practice of the technical critic. Hartman sets before us an ideal of literary criticism that can acknowledge theory yet does not shrink from a sustained, text-centered response. Minor Prophecies is a major book by one of our finest critics.

Choice Outstanding Academic Title for 2008 A Half-Century of Greatness paints a vivid and dramatic picture of the creative thought of mid- to late nineteenth century Europe and the influence of the unsuccessful revolutions of 1848. It reveals often unexpected links between novelists, poets, and philosophers from England, Germany, Austria, Hungary, Russia, and Ukraine—especially Dickens, Carlyle, Mill, the Brontës, and George Eliot; Hegel, Strauss, Feuerbach, Marx, Engels, Wagner, and several German poets; the Hungarian poet Sándor Petöfi; Gogol, Dostoevsky, Bakunin, and Herzen in Russia, and the great Ukrainian poet Shevchenko. Ewen goes on to trace the transition from Romanticism to Victorianism, or what he calls “the Victorian compromise”—the ascendancy of the middle class. The book was reconstructed and edited by Dr. Jeffrey Wollock from Ewen’s final manuscript. It includes the author's own reference citations throughout, a reconstructed bibliography, and an updated “further reading” list. This is Ewen’s last work, the long-lost companion to his Heroic Imagination. Together, these books present a panorama of the social, political, and artistic aspects of European Romanticism, especially foreshadowing and complementing recent work on the relation of Marxism to romanticism. Anyone interested in what Lukacs called “Romantic anticapitalism,”; who appreciates such books as Marshall Berman's Adventures in Marxism or E.P. Thompson's The Romantics (1997), will find Ewen’s work a welcome addition.

Son of pioneer movie producer Harry Rapf, Maurice Rapf grew up in Hollywood in that city's golden age. After moving from independent filmmaking to Warner Bros., in 1924 the senior Rapf joined Louis Mayer and became one of the founding members of MGM. Hence, movies were a huge influence in Maurice Rapf's early life. After graduating from college, Rapf worked as a screenwriter for major Hollywood studios, but, in 1947, he left Hollywood, never to work for a major studio again. On numerous occasions, he was called before the House Un-American Activities Committee as an alleged communist, although he never made a public confession or denial. As a result he was blacklisted from the industry and forced to begin a new career in the East. He eventually became a movie critic and film studies professor. Maurice Rapf knows movies and the movie business as an insider, from first-hand experience, not from books. His autobiography is the story of one person's interaction with an evolving Hollywood. Rapf witnessed the historical progression of movie production: from silents to sound, from a fun-loving frontier community to a huge and fiercely competitive industry, from an apolitical never-never land to a community very much aware of-and nervous about-its social responsibility in a period of economic depression and in a period of world peace seriously threatened by the aggression of fascism. Of interest to students and teachers of film studies, of American history, and of American popular culture, as well as anyone who loves movies.

For investing movies with an image of style and glamour George Cukor (1899--1983) is considered one of the founding fathers of the Golden Age of Hollywood. The roll call of the great films he made and the stars he directed validates his rank as one of cinema's greatest moviemakers. "The only really important thing I have to say about George Cukor," Katharine Hepburn proclaimed, "is that all the other directors I have worked with starred themselves. But George 'starred' the actor. He didn't want people to say, 'this great director.' He wanted them to say 'this great actor.' " Along with introducing Hepburn and Greta Garbo to American audiences, he worked with many of the most acclaimed movie actresses of his day, including Vivien Leigh, Olivia de Havilland, Jean Harlow, Elizabeth Taylor, Joan Crawford, Ingrid Bergman, Ava Gardner, Claudette Colbert, Angela Lansbury, Judy Holliday, Audrey Hepburn, and Marilyn Monroe. These interviews are a pleasure to read because Cukor is so immersed in his subject and so forthright in his observations. He comes to life immediately with disarming candor and infectious enthusiasm for cinema and the people who make it. In addition to discussing his romantic comedies, Cukor talks about his famous screen adaptations of classic novels and plays, including Little Women (1933) and David Copperfield (1935). His experience of being fired by producer David O. Selznick partway through the shooting of Gone With the Wind (1939) surfaces in nearly every interview. Instead of having his career derailed by this dismissal, however, he continued his rise as one of America's premier directors. In his cornucopia of films are Holiday (1938), The Philadelphia Story (1940), Adam's Rib (1949), Born Yesterday (1950), A Star Is Born (1954), Let's Make Love (1960), and My Fair Lady (1964). Cukor was a man of myriad dimensions. In his last years he opened up about his private life and his previously undisclosed homosexuality. He was ardent in his friendships and single-minded in his devotion to making quality movies for a popular audience. Robert Emmet Long, a literature and film scholar and writer living in Fulton, New York, is the author or editor of more than forty books, including John Huston: Interviews (University Press of Mississippi).

Fred Zinnemann (1907-1997) was one of Hollywood's most honored directors. In a career that spanned fifty years, he won four Academy Awards and directed such classic movies as From Here to Eternity, A Man for All Seasons, The Day of the Jackal, and High Noon. Covering thirty-three years of conversations (1964-1997), Fred Zinnemann: Interviews provides a revealing glimpse into the director's vision as he discusses in his cultivated, elegant voice his varied experiences as a filmmaker. He defends himself against charges that his films are too objective or unemotional. He reminisces about his experiences with independent director Robert Flaherty and his early years in the American studios and recounts his disappointment and frustration over his abortive attempt to film Man's Fate. Filled with intelligent commentary and recollections about all of his important work, the interviews disclose an artist committed to his craft, his vision, and the human enterprise. Despite the range of genres in which he worked-the western, the musical, film noir, and the ""social problem"" film-Zinnemann was aesthetically committed to social realism. Due in part to his training under Flaherty and his upbringing in Austria, where he witnessed firsthand the rise of fascism, Zinnemann was always drawn to stories that highlighted the testing of conscience in people caught up in a historical moment. World War II provided the backdrop to much of his work. As he put it, ""I have always been concerned with the problem of the individual who struggles to preserve personal integrity and self-respect."" Gabriel Miller is a professor of English at Rutgers University, Newark, and has written several other books on film and theater.

One of England’s foremost filmmakers, Derek Jarman (1942–1994) wrote and directed several feature films, including Sebastiane, Jubilee, Caravaggio, and Blue, as well as numerous short films and music videos. He was a stage designer, artist, writer, gardener, and an outspoken AIDS and queer rights activist in the UK and the United States. He is the author of several books, among them Modern Nature, available from the University of Minnesota Press.

"Most Americans imagine, I think, that the government agencies charged with national security are at least well intentioned and reasonably competent, but this book will shatter their illusions on both counts. It might also cause them to think twice about some of the programs for collecting 'intelligence' and 'information' that have been proposed for the current 'war against terrorism.' Although The Gordon File tells a story that comes to an end around 1970, the lesson could hardly be more timely than it is today." —Fred Haines, a filmmaker whose credits include Ulysses and Steppenwolf For twenty-six years, the FBI devoted countless hours of staff time and thousands of U.S. taxpayer dollars to the surveillance of an American citizen named Bernard Gordon. Given the lavish use of resources, one might assume this man was a threat to national security or perhaps a kingpin of organized crime—not a Hollywood screenwriter whose most subversive act was joining the Communist Party during the 1940s when we were allied with the USSR in a war against Germany. For this honest act of political dissent, Gordon came to be investigated by the House Committee on Un-American Activities in 1952, blacklisted by the Hollywood film industry, and tailed by the FBI for over two decades. In The Gordon File, Bernard Gordon tells the compelling, cautionary story of his life under Bureau surveillance. Drawing on his FBI file of over 300 pages, which he obtained under the Freedom of Information Act, he traces how the Bureau followed him from Hollywood to Mexico, Paris, London, Rome, and even aboard a Dutch freighter as he created an unusually successful, albeit uncredited, career as a screenwriter and producer during the blacklist years. Comparing his actual activities during that time to records in the file, he pointedly and often humorously underscores how often the FBI got it wrong, from the smallest details of his life to the main fact of his not being a threat to national security. Most important, Gordon links his personal experience to the headlines of today, when the FBI is again assuming broad powers to monitor political dissidents it deems a threat to the nation. "Is it possible," he asks, "that books like this will help to move our investigative agencies from the job of blackmailing those who are critical of our imperfect democracy to arresting those who are truly out to destroy us?"

A sharp and witty expose of show business and notorious characters Barry Avrich is a Montreal - born, self - made film producer/director, flamboyant advertising executive, and legendary biographer and connector of moguls and stars. For over three decades he has relentlessly produced films on some of the most notorious show - business titans and also found the time to market and promote feature films, concerts, and the biggest shows on Broadway. In his memoir, Moguls, Monsters and Madmen, Barry takes readers from his early days, shaping his brand as a creative adman with the infamous Garth Drabinsky and witnessing the genius of legendary Rolling Stones promoter Michael Cohl, to his acclaimed documentaries on Harvey Weinstein, Lew Wasserman, Bob Guccione, and many others. Go behind the scenes on his most provocative films - like The Last Mogul, Unauthorized, and Filthy Gorgeous - and follow Barry as he moves from the power rooms of Hollywood to the launches of incredible brands while hanging around with royalty, rogues, clients, and confidants. An extraordinary raconteur, Barry spares no one, least of all himself, as he details his extraordinary relationships and encounters with everyone from Frank Sinatra, Quincy Jones, and Vanity Fair columnist Dominick Dunne to Mick Jagger and Keith Richards."

Many contemporary theologians claim that the classical picture of God painted by Augustine and Aquinas is both outmoded and unbiblical. But rather than abandoning the traditional view completely, John Feinberg seeks a reconstructed model -- one that reflects the ongoing advances in human understanding of God's revelation while recognizing the unchanging nature of God and His Word. Feinberg begins by exploring the contemporary concepts of God, particularly the openness and process views, and then studies God's being, nature, and acts -- all to articulate a mediating understanding of God not just as the King, but the King who cares!

"In February 2015, Ivan Maisel received a call that would alter his life forever: his son Max's car was found abandoned in a parking next to Lake Ontario. Two months later, Max's body would be found in the lake. I Keep Trying to Catch His Eye is the story of Maisel's love for a son who was so different from him, but who he loved so deeply, and how he came to learn that grief for Max was nothing more than a last, ultimate expression of love. Navigating the moments of their complicated relationship, as well as their love each other, Maisel explores the bridges he tried to build to his son and the grief that engulfed him and his family after Max's death by suicide. Taking its title from Max's love of photography--and his tendency to only love the camera when he was behind it, looking away whenever his picture was taken--I Keep Trying to Catch His Eye delves into the tragically transformative reality of losing a child, all with grace, depth, and refinement. But by humanizing Max and humanizing his grief, Maisel evokes understanding instead of sorrow, appreciation instead of anxiety--and love instead of fear"--

Derek Jarman was one of our most celebrated artists- painter, poet, film-maker - and the author of many books, including the bestsellers Modern Nature and At Your Own Risk. The film scripts collected here for the first time- including Akenaten, Jubilee, Bob-Up-A-Down, B Little England/ A Time of Hope, Neutron and Sod 'Em - confirm Derek Jarman's reputataion as a leading independent film-maker.

"A community grows as neighbor helps neighbor in this heartwarming story inspired by the Golden Ladder, a Jewish approach to charity intended to create a fair society"--