Things As They Are

William Godwin was one of the most popular novelists of the Romantic era; P.B. Shelley praised him, Byron drew heavily on his narrative style, and Mary Shelley, Godwin’s daughter, dedicated Frankenstein to him. Caleb Williams is the riveting account of a young man whose curiosity leads him to pry into a murder from the past. The first novel of crime and detection in English literature, Caleb Williams is also a powerful exposé of the evils and inequities of the political and social system in 1790s Britain. In addition to the text itself, the editors have included an extensive selection of primary source materials from the period, ranging from Godwin’s original manuscript ending and excerpts from his political writings to contemporary reviews, the political writings of Burke and Paine, and materials on criminals and the English prison system.

"Mr. Horgan manages . . . to make the morning of life as pristine as the dawn of creation itself."--New York Times "A work of rare beauty . . . has a lyrical quality that is rare today."--Best Sellers "Mr. Horgan writes as a poet and as the biographer of us all." --Book Week Richard is a young boy growing up in turn-of-the-century upstate New York, sheltered in a loving Catholic family. His happy world consists largely of illusions. These are shattered as Richard learns about "things as they are"--a remorseless succession of encounters with the casual brutality of schoolboys, the faithlessness of adults, the silence of God, and the cruelty in his own heart. Yet Paul Horgan finds courage and beauty in the ruins of Richard's dream world. Hope is also part of "things as they are," and Horgan's subtle, powerful vision makes this classic tale of lost innocence a novel that resonates deeply in the soul.

"The real beauty of this book is that the thinking does not stop . . . deep in the thickets of philosophic references. Instead, true to the spirit of phenomoenology, we are provided with provocative accounts of how such thinking flows in contemporary anthropological practice." —XCP - Cross Cultural Poetics In this timely collection, thirteen contemporary ethnographers demonstrate the importance of phenomenological and existential ideas for anthropology. In emphasizing the link between the empirical and the experiential, these ethnographers also explore the relationship between phenomenology and other theories of the lifeworld, such as existentialism, radical empiricism, and critical theory.

By The Award-Winning Author Of The Last Crossing And The Englishman’s Boy Deftly layered, humane, these stories brilliantly capture the pathos and comedy of the human condition. Following the death of his domineering father, a middle-aged man tries to uncover a truth about their sometimes difficult relationship. When a grade-six teacher tyrannizes a student without apparent reason, the boy learns an unexpected lesson and his young life is changed irrevocably. An elderly widow falls prey to a con artist, revealing what we are capable of sacrificing to appease what we dread the most. A twelve-year-old boy is shunted off to his grandmother’s farm and becomes part of an adult world he scarcely understands. A group of high-school students play on a classmate’s self-delusions and set up what promises to be the most loaded boxing match ever staged. Whether writing from the point of view of a child, an adolescent, or a man in his seventies, Guy Vanderhaeghe takes us into the lives of his characters with razor-sharp insights laced with gentle humour.

This book provides a comprehensive account of the intentionality of perceptual experience. With special emphasis on vision Searle explains how the raw phenomenology of perception sets the content and the conditions of satisfaction of experience. The central question concerns the relation between the subjective conscious perceptual field and the objective perceptual field. Everything in the objective field is either perceived or can be perceived. Nothing in the subjective field is perceived nor can be perceived precisely because the events in the subjective field consist of the perceivings, whether veridical or not, of the events in the objective field. Searle begins by criticizing the classical theories of perception and identifies a single fallacy, what he calls the Bad Argument, as the source of nearly all of the confusions in the history of the philosophy of perception. He next justifies the claim that perceptual experiences have presentational intentionality and shows how this justifies the direct realism of his account. In the central theoretical chapters, he shows how it is possible that the raw phenomenology must necessarily determine certain form of intentionality. Searle introduces, in detail, the distinction between different levels of perception from the basic level to the higher levels and shows the internal relation between the features of the experience and the states of affairs presented by the experience. The account applies not just to language possessing human beings but to infants and conscious animals. He also discusses how the account relates to certain traditional puzzles about spectrum inversion, color and size constancy and the brain-in-the-vat thought experiments. In the final chapters he explains and refutes Disjunctivist theories of perception, explains the role of unconscious perception, and concludes by discussing traditional problems of perception such as skepticism.

Still adjusting to being blind, Alicia must outwit an invisible man who is putting her family and her boyfriend, who was once invisible himself, in danger.