Ever Not Quite

Examines ideas of pluralism in William James's writings and contemporary psychology.

Comedian and TV star, Tim Vine, will have you laughing for hours with this new, abridged version of his hilarious joke book . . . Velcro. What a rip off. Why do you never see an elephant on a bus? Because he's got a massive bum. So I went to the doctors. I said, 'I got hurt in a pillow fight.' He said, 'You've got concushion.' Believe it or not there are twice as many eyebrows in the world as there are people I tried to surf the Internet and I fell off my chair Read it to find these funny puns, plus many more original jokes and illustrations. You won't be able to put it down!

Two years ago, I accidentally, yeah maybe on purpose, crossed that line with my best friend and it ruined everything. I haven't seen him much since. But now he’s standing at my door. Same lumberjack build. Same dark hair that begs my fingers to run through it. And then he gives me that half smile, and I know I’m about to agree to do something I’m going to regret. I’ve got to spend two months with him now... and that’s not the worst part. Each book in the British Bad Boys series is STANDALONE: * Cinderella and the Geek * Once Upon A Player * Not So Happily Ever After

Alice is bored with her daily life; she'd rather fantasize about magic and romance. Her best friend Clary is more concerned with school and homework. One night, Clary and Alice's brother disappear and they find themselves in Laurelin-a kingdom in another world. Their arrival coincides with the disappearance of the Princess. As Clary tries to adjust to her stay in the kingdom, she's recruited to investigate some strange accusations which might be connected to the Princess' disappearance. Princess Elina leads a charmed life. She's happy to leave the kingdom's care in the hands of her older sister, the White Queen, who is trying to clean up the mess their mother left behind. She isn't prepared for one of her guards to turn traitor. He kidnaps her and whisks her away to another world. When they become unintentionally stuck there, Elina has to figure out a way to get home. Thankfully, she finds Alice, who is willing and eager to help. Now if only Elina could understand her kidnapper's motives.

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

In the spirit of Haruki Murakami and Amelia Gray, Catherine Lacey's Nobody Is Ever Missing is full of mordant humor and uncanny insights, as Elyria waffles between obsession and numbness in the face of love, loss, danger, and self-knowledge. Without telling her family, Elyria takes a one-way flight to New Zealand, abruptly leaving her stable but unfulfilling life in Manhattan. As her husband scrambles to figure out what happened to her, Elyria hurtles into the unknown, testing fate by hitchhiking, tacitly being swept into the lives of strangers, and sleeping in fields, forests, and public parks. Her risky and often surreal encounters with the people and wildlife of New Zealand propel Elyria deeper into her deteriorating mind. Haunted by her sister's death and consumed by an inner violence, her growing rage remains so expertly concealed that those who meet her sense nothing unwell. This discord between her inner and outer reality leads her to another obsession: If her truest self is invisible and unknowable to others, is she even alive? The risks Elyria takes on her journey are paralleled by the risks Catherine Lacey takes on the page. In urgent, spiraling prose she whittles away at the rage within Elyria and exposes the very real, very knowable anxiety of the human condition. And yet somehow Lacey manages to poke fun at her unrelenting self-consciousness, her high-stakes search for the dark heart of the self.