Alive with love and tenderness for his son, his parents, and even strangers in bars late at night, this latest collection by Ames looks beneath the surface of our world to find the beauty in the perverse, the sweetness in loneliness, and the humor in pain.

"After narrowly escaping with his life at the hands of a murderous Hollywood pimp, detective Happy Doll, bullet-ridden but healing, has landed on a remote Mexican beach. In a humble shack and with his dog for company, Doll settles into a peaceful idyll of Buddhist study. But then trouble, as it always does, comes to paradise. Doll is the witness to a murder for which he is framed, and now, with an expired passport and the Mexican authorities on his tail, he must sneak across the border back to L.A. by any means necessary, with the goal of bringing the true murderer to justice. But it's not just trouble that expels Doll from paradise! His dark past reaches for him, like a hand from the grave, old enemies want him dead, including the Jalisco Cartel, and Doll, a reluctant instrument of mayhem, yearns to end this cycle of violence and tip the karmic scales in his favor. But how can he do this without getting blood on his hands? Karma Doll marks the third installment in a madcap, bloody, and impossibly fun series, bringing us back in the good company of Happy Doll: a beloved, introverted anti-hero who has taken more hits to the head than a linebacker, yet still always manages to come out on top." -- Amazon.

This lively ethnography traces a fraught three months in the life of a Jewish congregation stubbornly persisting on the Lower East Side, and affords a candid, lucid and intimate introduction to contemporary synagogue practice. In these pages Jonathan Boyarin invites us to share the intimate life of the Stanton Street Shul, one of the last remaining Jewish congregations on New York's historic Lower East Side. This narrow building, wedged into a lot designed for an old-law tenement, is full of clamorous voices the generations of the dead, who somehow contrive to make their presence known, and the newer generation, keeping the building and its memories alive and making themselves Jews in the process. Through the eyes of Boyarin, at once a member of the congregation and a bemused anthropologist, the book follows this congregation of "year-round Jews" through the course of a summer during which its future must once again be decided. The Lower East Side, famous as the jumping off point for millions of Jewish and other immigrants to America, has recently become the hip playground of twenty-something immigrants to the city from elsewhere in America and from abroad. Few imagine that Jewish life there has stubbornly continued through this history of decline and regeneration. Coming inside with Boyarin, we see the congregation's life as a combination of quiet heroism, ironic humor, disputes for the sake of Heaven and perhaps otherwise, and above all the ongoing search for ways to connect with Jewish ancestors while remaining true to oneself in the present. Mornings at the Stanton Street Shul illustrates in poignant and humorous ways the changes in a historic neighborhood facing the challenges of gentrification. It offers readers with no prior knowledge of Judaism and synagogue life a portrait that is at once intimate and intelligible. Most important, perhaps, it shows the congregation's members to be anything but a monochromatic set of uniform "believers" but rather a gathering of vibrant, imperfect, indisputably down-to-earth individuals coming together to make a community.

"This book is an ethnographic description of the experiences of the author at a yeshiva located near his home on New York's Lower East Side, Mesivtha Tifereth Jerusalem (MTJ). Jonathan Boyarin spent a good deal of time at MTJ in the 1980s, before his anthropological training, and returned to it in 2011 when he once again became a regular visitor and participant. This book, in essence, is a portrait of life in this yeshiva. Boyarin introduces the MTJ yeshiva and its place in the wider American Jewish community, then takes up the daily patterns, rituals, and rhythms of the place"--

Without of course adopting a Platonic metaphysics, the eighteenth-century philosophes were Grecophiles who regarded the Athenian philosophers as their intellectual forbearers and mentors. So powerful was their identification with c1assification that ancient ideas were taken as keys to the design of the modem world, but usually the ideas were taken separately and as divided from their systematic context. The power of number was an idea the En lightenment thinkers deployed with their legendary passion and vigor, particularly as an instrument for social reconstruction. It is no exaggemtion to say that the role of quantities in contemporary social scientific theorizing cannot be understood with any depth absent a recollection of the philosophes' axial development of the notion of quantification. It is a commonplace that for the philosophes progress required releasing human abilities to have power over nature. Aprerequisite for this power was knowledge of the underlying causes of natural events, knowledge that required quantitative precision. Enlightenment thinkers were sufficiently aware of themselves as products of their time to appreciate the importance of a liberal social environment to the knowledge enterprise; the supposition that the reverse is also the case, that enhanced knowledge could advance social conditions, came easily.

Francis Bacon was one of the iconic figures of modern art, a painter who transformed the way we see and experience the human body. Mirroring Bacon's famous triptychs, Jonathan Littell's three essays engage with the artist's contorted figures and portraits, his screaming popes and apes, his flanks of beef and his umbrellas. In 'A Day at the Prado', Littell analyses Bacon's painting in light of Velazquez and Goya - two artists who deeply influenced him. In 'The Grammar of Francis Bacon', the artist's portraits of his lover George Dyer before and after his suicide in 1971 provide a key to the hidden correspondences between the figures he painted. Littell then, in 'The True Image', looks at the history of icon painting and photography before returning to Bacon, questioning the very meaning of truth in art. Erudite and deeply personal, Jonathan Littell's exegesis on the work of a major twentieth-century artist seeks to lay bare the sinews of Francis Bacon's tormented art. Jonathan Littell usually writes in French. Triptych was written in English, and this is its first English-language publication.

Born in Munich in 1896, Josef Breitenbach began taking photographs while working in the family wine merchant business. Proving less than successful at the latter, he opened his first photographic studio in 1932. Munich at that time was a stronghold of libertarians and bons vivants, and Breitenbach's clients included actors, cabaret stars, writers and political figures. It was a short-lived venture; when Hitler became Chancellor in 1933, the photographer escaped to Paris, where he stayed for the next six years. There, Breitenbach's close friendship with Max Ernst, and his experimentation with printing techniques and color manipulation, brought him into contact with the thriving Surrealist movement, although he never became a member of that group. His work was included in a number of exhibitions, alongside that of Man Ray, Brassai and Cartier-Bresson. After the outbreak of war, and a period of internment, he fled to New York and established himself as a teacher and commercial photographer. However, his early work remained unseen until its surprise discovery, after his death, in 1984. Published in association with The Josef Breitenbach Trust, Manifesto is an important addition to the literature available on this extraordinary artist.

This book is a first attempt to cover the whole area of aesthetics from the point of view of critical rationalism. It takes up and expands upon the more narrowly focused work of E. H. Gombrich, Sheldon Richmond, and Raphael Sassower and Louis Ciccotello. The authors integrate the arts into the scientific world view and acknowledge that there is an aesthetic aspect to anything whatsoever.

One of the questions that philosophers discuss is: How can we avoid, or at least reduce, errors when explaining the world? The skeptical answer to this question is: We cannot avoid errors since no statement is certain or even definitely plausible, but we can eliminate some past errors. This book advocates the skeptical position and discusses its practical applications in science, ethics, aesthetics, and politics. It brings philosophy down to earth and comprises an outline of a skeptical guide to the real world.

The thesis of the present volume is critical and dual. (1) Present day philosophy of man and sciences of man suffer from the Greek mis taken polarization of everything human into nature and convention which is (allegedly) good and evil, which is (allegedly) truth and fal sity, which is (allegedly) rationality and irrationality, to wit, the polar ization of all fields of inquiry, the natural and social sciences, as well as ethics and all technology, whether natural or social, into the totally positive and the totally negative. (2) Almost all philosophy and sci ences of man share the erroneous work ethic which is the myth of man's evil nature - the myth of the beast in man, the doctrine of original sin. To mediate or to compromise between the first view of human nature as good with the second view of it as evil, sociologists have devised a modified utilitarianism with deferred gratification so called, and the theory of the evil of artificial competition (capitalist and socialist alike) and of keeping up with the Joneses. Now, the mediation is not necessary. For, the polarization makes for abstract errors which are simplistic views of rationality, such as reductionism and positivism of all sorts, as well as for concrete errors, such as the disposition to condemn repeatedly those human weaknesses which are inevitable, namely man's inability to be perfectly rational, avoid all error, etc. , thus setting man against himself as all too wicked.

Essay - dust jacket

"Who is the greatest living essayist writing in English? Joseph Epstein would surely be at the top of anybody's list. Epstein is penetrating. He is witty. He has a magic touch with words, that hard to define but immediately recognizable quality called style. Above all, he is impossible to put down. Gallimaufry: A Collection of Essays, Reviews, Bits contains 58 essays on a wide variety of subjects, each a pure pleasure to read"--

Joseph Epstein demonstrates time and again his talent for taking nearly any subject and polishing it into a gem of sparkling wit and fascination. In Narcissus Leaves the Pool, he displays his signature verve and charm in sixteen agile, entertaining pieces. Among his targets in this collection are name-dropping, talent versus genius, the cult of youthfulness, and the information revolution.

Nine Chicago-based short stories combine wit and precision to probe the meaning of ambition by creating insightful characters with realistic struggles

The new and daring book on the Philosophy of Atheism, written with the fire and enthusiasm of conviction, it is literally a dramatic moving picture subject. If you enjoy reading Voltaire, David Hume, Thomas Paine and Ingersoll, do not fail to read this exposition of that ever fascinating theme by the most daring writer of them all

Joseph Margolis is an extremely rare kind of author - a renowned, world-class philosopher who is prepared to write accessibly for the non-specialist reader. Here Margolis introduces the reader to all of the central questions of Western philosophy, showing not only philosophical arguments progress but also how the most fundamental questions relate to each other. This lucid introduction enables the reader to experience a first-rate philosophical intelligence at work. "I have tried to keep the issues clean and bare and to presuppose as little as possible in addressing the attentive reader. My intention is to attract readers, either in agreement or disagreement, either amateurs or professionals, to attend to the issues without the sort of scholarly paraphernalia that positively obscures arguments" - Joseph Margolis

The dawning of the nineteenth century found the Jews of Eastern Europe torn between the forces of progress and reaction as they took their first tentative steps toward the modern world. In a war of words and of books, Haskala—the Jewish Enlightenment—did battle with the religious revival movement known as Hasidism. Perl, an ardent advocate of Enlightenment, unleashed the opening salvo with the publication in 1819 of Revealer of Secrets. The novel tried to pass itself off as a hasidic holy book when it was, in fact, a broadside against Hasidism—a parody of its teachings and of the language of its holy books. The outraged hasidim responded by buying up and burning as many copies as they could.Dov Taylor's careful translation and commentary make this classic of Hebrew literature available and accessible to the contemporary English-speaking reader while preserving the integrity and bite of Perl's original. With Hasidism presently enjoying a remarkable rebirth, the issues in Revealer of Secrets are all the more relevant to those seeking to balance reason and faith. As the first Hebrew novel, the work will also be of great interest to students of modern Hebrew literature and modern Jewish history.