Unwritten

“One of our most interesting and bold writers . . . [offers] a characteristically wild effort that defies genre distinctions, flits from the profound to the mundane with fierce intelligence and searching restlessness, and at its best, delves deep into the recesses of the human heart with courageous abandon . . . An intoxicating blend of humor and pathos.” —Priscilla Gilman, The Boston Globe “Eerie, profound, and daring, this is a book only the inimitable Hunt could write.” —Adrienne Westenfeld, Esquire From Samantha Hunt, the award-winning author of The Dark Dark, comes The Unwritten Book, her first work of nonfiction, a genre-bending creation that explores the importance of books, the idea of haunting, and messages from beyond I carry each book I’ve ever read with me, just as I carry my dead—those things that aren’t really there, those things that shape everything I am. A genre-bending work of nonfiction, Samantha Hunt’s The Unwritten Book explores ghosts, ghost stories, and haunting, in the broadest sense of each. What is it to be haunted, to be a ghost, to die, to live, to read? Books are ghosts; reading is communion with the dead. Alcohol is a way of communing, too, as well as a way of dying. Each chapter gathers subjects that haunt: dead people, the forest, the towering library of all those books we’ll never have time to read or write. Hunt, like a mad crossword puzzler, looks for patterns and clues. Through literary criticism, history, family history, and memoir, inspired by W. G. Sebald, James Joyce, Ali Smith, Toni Morrison, William Faulkner, and many others, Hunt explores motherhood, hoarding, legacies of addiction, grief, how we insulate ourselves from the past, how we misinterpret the world. Nestled within her inquiry is a very special ghost book, an incomplete manuscript about people who can fly without wings, written by her father and found in his desk just days after he died. What secret messages might his work reveal? What wisdom might she distill from its unfinished pages? Hunt conveys a vivid and grateful life, one that comes from living closer to the dead and shedding fear for wonder. The Unwritten Book revels in the randomness, connectivity, and magic of everyday existence. And at its heart is the immense weight of love.

One of the worlds foremost literary critics meditates upon seven books he long had in mind to write but never did. Massively erudite, the essays are also brave, unflinching, and wholly personal.

In this fantasy middle-grade novel, twelve-year-old storybook character Gracie Freeman lives in the real world but longs to discover what happened in the story she came from. When she finally gets her chance, the truth isn't what she was expecting.

In the first book in a brilliant new fantasy series, books that aren't finished by their authors reside in the Library of the Unwritten in Hell, and it is up to the Librarian to track down any restless characters who emerge from those unfinished stories. Many years ago, Claire was named Head Librarian of the Unwritten Wing-- a neutral space in Hell where all the stories unfinished by their authors reside. Her job consists mainly of repairing and organizing books, but also of keeping an eye on restless stories that risk materializing as characters and escaping the library. When a Hero escapes from his book and goes in search of his author, Claire must track and capture him with the help of former muse and current assistant Brevity and nervous demon courier Leto. But what should have been a simple retrieval goes horrifyingly wrong when the terrifyingly angelic Ramiel attacks them, convinced that they hold the Devil's Bible. The text of the Devil's Bible is a powerful weapon in the power struggle between Heaven and Hell, so it falls to the librarians to find a book with the power to reshape the boundaries between Heaven, Hell….and Earth.

The academy may claim to seek and value diversity in its professoriate, but reports from faculty of color around the country make clear that departments and administrators discriminate in ways that range from unintentional to malignant. Stories abound of scholars--despite impressive records of publication, excellent teaching evaluations, and exemplary service to their universities--struggling on the tenure track. These stories, however, are rarely shared for public consumption. Written/Unwritten reveals that faculty of color often face two sets of rules when applying for reappointment, tenure, and promotion: those made explicit in handbooks and faculty orientations or determined by union contracts and those that operate beneath the surface. It is this second, unwritten set of rules that disproportionally affects faculty who are hired to "diversify" academic departments and then expected to meet ever-shifting requirements set by tenured colleagues and administrators. Patricia A. Matthew and her contributors reveal how these implicit processes undermine the quality of research and teaching in American colleges and universities. They also show what is possible when universities persist in their efforts to create a diverse and more equitable professorate. These narratives hold the academy accountable while providing a pragmatic view about how it might improve itself and how that improvement can extend to academic culture at large. The contributors and interviewees are Ariana E. Alexander, Marlon M. Bailey, Houston A. Baker Jr., Dionne Bensonsmith, Leslie Bow, Angie Chabram, Andreana Clay, Jane Chin Davidson, April L. Few-Demo, Eric Anthony Grollman, Carmen V. Harris, Rashida L. Harrison, Ayanna Jackson-Fowler, Roshanak Kheshti, Patricia A. Matthew, Fred Piercy, Deepa S. Reddy, Lisa Sanchez Gonzalez, Wilson Santos, Sarita Echavez See, Andrew J. Stremmel, Cheryl A. Wall, E. Frances White, Jennifer D. Williams, and Doctoral Candidate X.

The Unwritten Law examines the values and assumptions of mid-Victorian England as revealed in the actual workings of the criminal justice system. The working definitions of criminality and justice were often influenced more by certain tacit assumptions than by the written law. Through a careful study of the ways that the status and circumstances of victims and suspects influenced judicial decisions, Conley provides important new insights into Victorian attitudes toward violence, women, children, community, and the all-important concept of respectability. She also addresses issues that continue to be of concern in today's society: How can equal justice be preserved when social and economic conditions and expectations are not equal? How can the rights of the accused be reconciled with those of victims--especially children? Can and should the courts interfere with the traditions of family and community? What standards can determine the criminality of a particular act and the justice and efficacy of punishment? This original analysis will hold special interest for students and scholars of British history, social history, and criminality and the law.

It is well known that the US Constitution has been amended twenty-seven times since its creation in 1787, but that number does not reflect the true extent of constitutional change in America. Although the Constitution is globally recognized as a written text, it consists also of unwritten rules and principles that are just as important, such as precedents, customs, traditions, norms, presuppositions, and more. These, too, have been amended, but how does that process work? In this book, leading scholars of law, history, philosophy, and political science consider the many theoretical, conceptual, and practical dimensions of what it means to amend America's 'unwritten Constitution': how to change the rules, who may legitimately do it, why leaders may find it politically expedient to enact written instead of unwritten amendments, and whether anything is lost by changing the constitution without a codified constitutional amendment.

Dominic Gettins spent many years writing copy and training others to do so. In this handbook he demonstrates his own ability to get his message across and shows readers how to do the same. He articulates the uncodified knowledge copywriters and art directors use when writing ads for readers to apply to any communications they have to produce. Although the examples come mostly from the advertising industry, the techniques and principles can be applied to any form of promotional writing, in national press, newsletters, press releases, direct mail shots, posters, TV, radio, and even internal reports and memos. He presents these in the form of eight essential rules.