A Line A Week My Four Years

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Over a period of several decades, the author evolved a personal way of relating to and communicating with children, offering them a live professional setting in which to discover themselves. He believed that, in the right case, a full and free use of the first interview can yield rich rewards, and he claimed that the right cases for this are common. He hoped that, by presenting these case studies, he would introduce the reader to the exciting potential of his approach, which depends as much on selection (of therapist) as on training. Here is his presentation - seventeen case histories whose significance for child psychiatry is in the tradition of Freud's case histories of the treatment of adult neurotics. Therapeutic Consultations in Child Psychiatry provides a fruitful feedback to psychoanalysis itself.

The second edition of Drawing the Line: How Mason and Dixon Surveyed the Most Famous Border in America updates Edwin Danson’s definitive history of the creation of the Mason - Dixon Line to reflect new research and archival documents that have come to light in recent years. Features numerous updates and revisions reflecting new information that has come to light on surveyors Charles Mason and Jeremiah Dixon Reveals the true origin of the survey’s starting point and the actual location of the surveyors’ observatory in Embreeville Offers expanded information on Mason and Dixon’s transit of Venus adventures, which would be an important influence on their future work, and on Mason’s final years pursuing a share of the fabulous Longitude prize, and his death in Philadelphia Includes a new, more comprehensive appendix describing the surveying methods utilized to establish the Mason-Dixon Line