Too Good To Be Untrue

Supernatural science fiction. How do the seen and the unseen parts of Reality compare, contrast, and interact with each other? What are the parallels, and what are the differences? What conflicts occur between the different aspects of Creation?

Stories always involve a main character, and Jesus' character is unlike any other. No other hero-whether of history, myth, imagination, or legend-has loved as he loved, led the way he led, been a friend the way he was a friend, or understood himself as Jesus understood himself.

A National Indie Bestseller An NPR Best Book of the Year A New York Times Best Book of the Year An Amazon Best Book of the Year A Booklist Editors' Choice A BookPage Best Book of the Year A NECBA Windows & Mirrors Selection A Publishers Weekly Best Book of the Year A Wall Street Journal Best Book of the Year A Today.com Best of the Year PRAISE "A modern masterpiece." —The New York Times Book Review "Supple, sparkling and original." —The Wall Street Journal "Mesmerizing." —TODAY.com "This book could change the world." —BookPage "Like nothing else you've read or ever will read." —Linda Sue Park "It hooks you right from the opening line." —NPR SEVEN STARRED REVIEWS ★ "A modern epic." —Kirkus Reviews, starred review ★ "A rare treasure of a book." —Publishers Weekly, starred review ★ "A story that soars." —The Bulletin, starred review ★ "At once beautiful and painful." —School Library Journal, starred review ★ "Raises the literary bar in children's lit." —Booklist, starred review ★ "Poignant and powerful." —Foreword Reviews, starred review ★ "One of the most extraordinary books of the year." —BookPage, starred review A sprawling, evocative, and groundbreaking autobiographical novel told in the unforgettable and hilarious voice of a young Iranian refugee. It is a powerfully layered novel that poses the questions: Who owns the truth? Who speaks it? Who believes it? "A patchwork story is the shame of the refugee," Nayeri writes early in the novel. In an Oklahoman middle school, Khosrou (whom everyone calls Daniel) stands in front of a skeptical audience of classmates, telling the tales of his family's history, stretching back years, decades, and centuries. At the core is Daniel's story of how they became refugees—starting with his mother's vocal embrace of Christianity in a country that made such a thing a capital offense, and continuing through their midnight flight from the secret police, bribing their way onto a plane-to-anywhere. Anywhere becomes the sad, cement refugee camps of Italy, and then finally asylum in the U.S. Implementing a distinct literary style and challenging western narrative structures, Nayeri deftly weaves through stories of the long and beautiful history of his family in Iran, adding a richness of ancient tales and Persian folklore. Like Scheherazade of One Thousand and One Nights in a hostile classroom, Daniel spins a tale to save his own life: to stake his claim to the truth. EVERYTHING SAD IS UNTRUE (a true story) is a tale of heartbreak and resilience and urges readers to speak their truth and be heard.

Borrowing its title from Oscar Wilde's essay "The Decay of Lying," this study engages questions of fraudulent authorship in the literary afterlife of Oscar Wilde. The unique cultural moment of Wilde's early-twentieth-century afterlife, Gregory Mackie argues, afforded a space for marginal and transgressive forms of literary production that, ironically enough, Wilde himself would have endorsed. Beautiful Untrue Things recovers the careers of several forgers who successfully inhabited the persona of the Victorian era's most infamous homosexual and arguably its most successful dramatist. More broadly, this study tells a larger story about Oscar Wilde's continued cultural impact at a moment when he had fallen out of favour with the literary establishment. It probes the activities of a series of eccentric and often outrageous figures who inhabited Oscar Wilde's much-mythologized authorial persona - in forging him, they effectively wrote as Wilde - in order to argue that literary forgery can be reimagined as a form of performance. But to forge Wilde and generate "beautiful untrue things" in his name is not only an exercise in role-playing - it is also crucially a form of imaginative world-making, resembling what we describe today as fan fiction.

Recent years have seen a surge of interest in the workings of financial institutions and financial markets beyond the discipline of economics, which has been accelerated by the financial crisis of the early twenty-first century. The Oxford Handbook of the Sociology of Finance brings together twenty-nine chapters, written by scholars of international repute from Europe, North America, and Asia, to provide comprehensive coverage on a variety of topics related to the role of finance in a globalized world, and its historical development. Topics include global institutions of modern finance, types of actors involved in financial transactions and supporting technologies, mortgage markets, rating agencies, and the role of financial economics. Particular attention is given to financial crises, which are discussed in a special section, as well as to alternative forms of finance, including Islamic finance and the rise of China. The Handbook will be an indispensable tool for academics, researchers, and students of contemporary finance and economic sociology, and will serve as a reference point for the expanding international community of scholars researching these areas from a broadly-defined sociological perspective.

This work goes back to 9500 BC, when the Grand Magicians came forth, on to 500 BC, when the Great Ones appeared, and continues to trace the life-changing Principles of New Thought right up to the 21st century. It reveals the Secret of the Ages and the ministering angels.